Jason Sanders Picks His Top Comedy Shows of Edinburgh Fringe Festival 2023
Article By Jason Sanders
Jason Sanders carries fifteen years of experience working behind the scenes in the West End and on productions around the world. His career has encompassed a myriad of backstage roles in the sector. He holds a master’s degree from Goldsmiths, University of London and a BA in English from Kings College.
The Temp
DeGiovanni’s solo play is pure brilliance. It’s both entertaining and social commentary on any workplace anyone has ever worked in. As DeGiovanni and her director Alexandra Scordato flyer on the streets of Edinburgh, they sell the show as The Office meets Fleabag and If you’ve ever had a job, you’ll love it and it’s true, you will. From the very moment she steps onto the stage, oh so casually and calm at first, it’s just the best ride as she transforms into a cast of characters somehow filling the empty stage with sheer presence.
Picture this: Kristina’s hired to play the role of an office worker to keep up the corporate charade and ensure her boss keeps numbers high! Not her dream gig, but guess what? She nails it and for her this is no temp job; this is the role of a lifetime. Now, get ready for her method acting madness.
It says a lot about her director that the shows pace and rhythm, coupled with DeGiovanni’s swift acting abilities to flicker from role to role, that this show feels so far beyond a one woman show and we can so easily see a television adaptation. If there was a single critique, the space is perhaps a little on the small size for the minimal props on stage, but on the other hand some of that added to the comedy.
Beneath the laughter lies a genuine vulnerability and a longing to be more than a temp. At the end of the show Kristina admits, the show is not autobiographical, she’s much nicer but perhaps this her little way of saying ‘I’m still trying to make it’ which really is all Fringe is about. The platform, the performances, the networks, the people you meet and for sure, the opportunity to take your career and your work to the next level. Kristina’s journey through the corporate maze feels as relatable as your morning coffee routine. Her performance is a blend of smarts, charm, and skill – it’s funny with a twist of satire that hits the mark.
The show’s sharp take on the absurdity of corporate life is a mirror that reflects your own nine-to-five adventures. Pro tip: If you’re in the mood for a guaranteed night of laughter, snag those tickets like a bitch, like a boss (reference to the closing number in the show, shout out to Doja)
★★★★★
The Wild Geeze
Breda Larkin and Miss Laura Lavelle, the Irish dynamite behind this madness, left me in stitches and wondering if I’d accidentally stumbled into a parallel universe.
Their sold-out performance in the Gilded Balloon’s turret room was a whirlwind of outrageous laughs and jaw-dropping cabaret. These two don’t just give it their all; they give it everything they’ve got, including a few bodily fluids for good measure. And trust me, I was glued to the stage like a kid in a candy store, not daring to miss a single crazy moment.
Larkin and Lavelle didn’t hold back, showcasing striptease, puppetry that’s definitely NSFW, and raps about trees (yes, you read that right). All the while, they managed to smash the patriarchy, save the planet, and leave the first few rows… a tad damp. The crowd, mostly made up of the queer community, responded with cheers and hollers, totally on board for the wild ride.
What’s their secret? Maybe it’s their bond over dark sibling jokes or the palpable chemistry they share on stage. These two are like a comedic power duo, effortlessly bouncing off each other’s energy. It’s clear they’ve honed their craft on the Irish cabaret scene, creating an inviting and electric atmosphere in the room. And for Fringe first-timers, they’re setting the bar high. And those catchy songs will be stuck in your head for ages.
★★★★★
Banana
Prepare to peel with laughter as Banana presents an existential quandary: is he a man or a banana? This zany solo clown show, led by the enigmatic Michael Galligan, takes you on an absurd journey where he’s trapped in a box, racing against time before he ripens into a ripe banana.
Galligan’s performance is a magnet, using physicality, wordplay, and uproarious scenarios to draw continuous laughter from the audience.
Galligan commands the stage, orchestrating laughter with each calculated move, well-crafted pun, and surprising scenario. His comedic mastery is evident in his timing and physical finesse, culminating in a comedic tour de force.
The brilliance of Banana lies in its ability to weave various comedic threads into a dynamic tapestry, immersing the audience in an unforgettable experience. Galligan’s unwavering commitment to the character and premise blurs reality, creating a world where absurdity reigns supreme.
In a nutshell, Banana is a riotously idiosyncratic gem, leaving you in stitches, scratching your head in bewilderment, and pondering life’s delightful oddities. It’s a must-see spectacle that seamlessly merges laughter, reflection, and an unapologetic celebration of life’s wonderfully weird nuances.
★★★★★
An Asian Queer Story: Coming Out to Dead People
Set against his traditional Chinese-Malaysian background, Sim navigates the challenging terrain of coming out to his mother amidst her cancer diagnosis. Sim’s storytelling shines as he intertwines humour and vulnerability. The show strikes a chord, particularly for those with similar immigrant backgrounds. Audiences have found solace and relatability in the narrative, making it a conversation-starter long after the curtain falls.
The performance’s impact is undeniable, marked by a standing ovation—an exceptional occurrence at the Fringe. Sim’s ability to seamlessly blend laughter with contemplation is a testament to his skill and the show’s purpose.
Through humour and reflection, An Asian Queer Story illuminates lesser-explored perspectives of queer life and culture. Its impeccable construction and relatable themes keep audiences engaged while leaving them with moments of both laughter and empathy.
Sim’s adept engagement with the audience nurtures connection and understanding. The show’s candid exploration of family dynamics, cultural heritage, and self-pride resonates universally.
With a story like this it’s easy to categorise it as a drama, but this production is brilliantly upbeat and funny.
★★★★★
Bad Teacher
Let me introduce you to Evie, the ultimate multitasker. By day, she’s conquering the classroom, tackling everything from pay raises to parents’ evenings. By night, she’s unleashing her inner party animal and exchanging hilariously awkward texts with her age-ambiguous boyfriend Andy. And in her spare school moments, she’s there for a student in need. This is portrayed to the audience like a superhero, and she’s been watching those TED talks too… working the superhero pose to channel that positive independent, can-do-attitude, working woman energy.
Bad Teacher serves up a refreshing blend of genuine laughs and relatable authenticity. This one-woman powerhouse show takes you on a raucous ride through the trials and tribulations of the education world, while showcasing heartfelt connections between teachers and students.
Erin Holland, part of the feminist duo Queens of Cups, leads the charge as writer and performer. With Grace O’Keefe as director and producer, the play draws from their own teaching experiences, resulting in a fast-paced character comedy that’s both hilarious and sincere.
Holland’s infectious energy brings the script to life, nailing punchlines and creating an hour of entertainment that resonates with educators and anyone familiar with life’s grind. Bad Teacher is a delightful revelation, offering insights into those who shape young minds, akin to that one teacher who left a mark.
★★★★★
O’Neill: The Amazing Banana Brothers
After stumbling upon an article about LA’s Clown Actors, I couldn’t resist checking out ‘The Amazing Banana Brothers.’ The name alone intrigued me, especially since I’d just seen another banana-themed show. Directed by Palamides herself, this show introduces us to Bill O’Neill’s portrayal of the eccentric fruit-based daredevil duo.
The Amazing Banana Brothers’ is a delightful whirlwind of comedy that hits all the right notes. O’Neill crafts two brilliantly damaged characters. The meticulously executed banana slipping sequences are both technically impressive and increasingly comical, with absurd preludes that lead up to the actual falls. The audience interaction hits its peak as Joey hilariously forces an unwitting spectator to relive Kevin’s ‘happiest day ever.’
As the show unfolds, O’Neill occasionally throws curveballs, breaking the fourth wall with playful abandon. Beneath the laughs, it hints at family trauma in a way that goes beyond mere humor. Yet, the show maintains its giddy momentum and sheer WTF factor, keeping the audience laughing and off-balance, all while touching on some profound themes.
In the end, ‘The Amazing Banana Brothers’ proves to be a brilliantly unexpected find, leaving me both entertained and curiously contemplative.
★★★★
Awake and Narcoleptic with Sarah Albritton
Albritton swoops in like a caffeinated hummingbird, roaring ‘Are you Awake?’. She doesn’t just make us chuckle – she takes us through all the emotions from funny and sweet to empathetically exhausted as she delves into the complicated world of narcolepsy.
And let’s talk about those useful pop-up dictionary moments! It’s like hitting pause on a Netflix show to Google something – only way more entertaining and saves us a lot of time. Albritton’s shape-shifting abilities from character to character is so smooth, swapping personas faster than a chameleon changes colours, giving us belly laughs and brain twirls at the same time.
But hold onto your seats, folks – this isn’t just giggles and snorts. It’s carnival mirror that makes you think while you laugh. By the time the curtain call happens, you really appreciate the underlining education of narcolepsy and hidden disabilities and will be sure to push even the worst of us to be more understanding, empathetic and giving to those around us because we never really know who might have a disability we can’t see. It’s the kind of magic that makes you smarter without feeling like you just took an exam.
Edinburgh Fringe has a lot of competition and whilst the show may have had moments where pacing could’ve been improved, where perhaps the transitions could’ve been tightened up, for this solo show in Albritton’s debut Edinburgh Fringe, Awake and Narcoleptic is a great example of why stand-ups are truly brilliant writers. The show takes you on such a journey.
★★★★
I Can’t Believe You’ve Done This
This almost didn’t make the list, I don’t know if I could completely catagorise it as a play but Ania Magliano has once again proven her immense popularity as her tickets have swiftly sold out for the second consecutive year and so that in itself was a win worth writing about. While purchasing tickets online might seem like a distant dream, don’t let that discourage you from taking a chance – showing up at the venue might just yield some fortuitous last minute.
Isn’t a haircut more than just a mundane act of grooming? Ania Magliano’s latest show stems from a hair-raising misadventure at the salon that turned her once silent British reserve into a forceful plea against the ruthless shearing of her locks. Initial impressions might lean towards it being an enjoyable, lightweight stand-up show – a sentiment that holds true for much of Magliano’s performance, building on the triumph of her sold-out debut from the previous year. Her recounting of the journey towards self-reinvention following the salon fiasco doesn’t seek grand claims; instead, it opens up personal confidences to evoke laughter. However, as the show progresses, a sudden narrative shift emerges, encouraging the audience to view the entire hour through an entirely different prism.
Some might consider this narrative twist a sly attempt at infusing a last-minute dose of gravitas. Yet, Magliano masterfully pulls off this twist, seamlessly imbuing heightened emotional significance without sacrificing the light-heartedness that defines her act. This approach stands in stark contrast to the weighty introspection often associated with comedy derived from personal traumas.
An engaging anecdote about a near-threesome paints our host as charmingly modest, while a segment about her recent breast reduction procedure delves into the curious motives of her surgeon, culminating in a vivid image that encapsulates both self-discovery and personal hygiene challenges.
★★★★
Quitting Comedy
When I saw the name of this show, it was like a neon sign flashing “Investigate Immediately.” And then, I saw it was in the free fringe and so I had to go! Quitting Comedy is a humorous ride that leans more towards the scribbled jokes side than the “I’m-an-Oscar-worthy-actor” side, but the result? A good time. And these actors are also stand-ups. And the show is about stand ups. They mix wild moments with just the right sprinkles of irony and question, when is time for some stand ups who have been around since before time, to hang up the mic.
Penned and performed by the dynamic duo Caroline Hanes and Malia Simon from New York City, Quitting Comedy peaks behind the curtain at the comedy biz. The laughs come at you faster than a joke-telling tornado, and it’s all set against the savage backdrop of New York’s comedy jungle. Mix in stand-up bits, throw in a cast of characters so colourful you’d think they raided a rainbow, and voilà! You’ve got a show that spotlights the drama behind two rising female comedians. Caroline and Malia mix their own stand-up zingers with scripted satire, tossing shade at the comedy world’s crazy stereotypes. And they don’t just stop at teasing – they dive headfirst into tackling sexism in a man’s world, making you snort with laughter while pointing out the absurdities.
On stage we have a cocktail of cooky and believable characters There’s the self-proclaimed C-U-M-edy God, played with genius finesse by Danny Shaw. And let’s not forget Nomie, the girl-power enthusiast brought to life by Eve Ellenbogen. Plus, a shout-out to the washed-up comic Steve, given vibrant energy by Mark Row. Hanes and Simon, they’re the sorcerers of laughter, turning these quirky misfits into lovable maniacs. In the cutthroat world of NYC comedy, this duo breathes life into caricatures, dishing out sharp satire while keeping the chuckles flowing like a comedy waterfall.
★★★★
