Will Oliver has the hallmarks of genuine Fringe discovery in For An Eye?. His sophomore surrealist horror returns to the Dundee Fringe following runs at Edinburgh and Dundee in 2025. Following a shopkeeper selling miscellaneous junk, the play quickly turns from an absurd examination of suffering a landlord’s wrath into a familial body horror of Oedipal proportions. This is a show with a demonic energy. There is a delicious evilness to all of Oliver's concoctions, logical step

Isaac Burnett is not far from striking gold in this wonderfully off-kilter work-in-progress, as eccentric as it is a thinker. It follows a guy called Dylan throwing a flat party. He's wearing a Kafka tee but is the portrait of a total nihilist. He's like a more cynical version of Jez from Peep Show, but he's about to go through horrors the former couldn't imagine. Namely, having Kleptoparasite seagulls steal his hangover-cure sausage roll. And afterwards, in the play's centra

Pamela Banchetti's solo show is an intriguing homage to storytelling with some wonderfully playful passages. It has clear love and care put into it on linguistic and theatrical levels. The play is a series of variations on the same story – about a grandmother who bakes a cake using eggs, flour, milk and so on pulled from orifices of her body. She bakes the cake in order to get closer to the sun. On paper it sounds grotesque. In Banchetti's hands, it is tender. Her performance

Daniel Cremin is every bit the showman is his solo show WHY MAGIC?, an autobiographical piece of theatre about the origins of his love for magic, and the steps it takes to become yourself. Cremin's act is charming and meticulous. He knows exactly what the show is and clearly relishes in its playfulness and humanity. The sleight of hand magic is head-scratching and teasing. You watch him make a ball disappear and then your eyes are on that hand and a subtle movement throws you

Cat Barrett pens and performs in this beautifully understated reflection on finding solace in the Scottish Highlands. It weaves through a pleasingly broad series of intersections, between family, self, nature and how these things are shaped and changed by the urban environments of late-stage capitalism. Following Skye, the play explores her time in the Cairngorms from early trips with her dad until a recent trip where her troubled mind clouds the area. Skye is a sympathetic c