Cabaret

Wednesday, July 15, 2026

 

Our 10 Unmissable Cabaret and Variety Shows at the Edinburgh Fringe 2026

by Bea Sterling

The Edinburgh Festival Fringe runs this year from 7 to 31 August 2026, with over 3,600 shows across the city. Cabaret and Variety is one of the richest strands in the programme this year, and the ten shows below combine proven track records, award pedigrees and serious pre-Fringe buzz. Always double-check dates, times and prices on edfringe.com before booking, as festival schedules can shift.




1. Reuben Kaye: Hard to Swallow


Venue: Assembly George Square Gardens (Palais du Variété) Dates: Thursday 6 – Saturday 29 August 2026 (not every date — check listings) Time: 8:00pm Price: From £15–£20 depending on date

Reuben Kaye has become a genuine Fringe institution. The Australian cabaret artist and comedian is backed by a full band and has picked up an Edinburgh Comedy Awards Best Show nomination, the Adelaide Cabaret Festival's Icon Award, and Green Room Awards for Best Cabaret Artist and Best Musical Direction. Expect glitter, sharp political comedy, and full-throttle vocal performance. Kaye also hosts a separate late-night companion show, The Kaye Hole, a looser, more chaotic variety night with a live band and rotating guests — worth checking for an after-dark add-on to the main show.




2. James Phelan: Showman



Venue: Underbelly's Circus Hub on the Meadows Dates: Saturday 8 – Saturday 29 August 2026 Time: Evening performance (exact time to be confirmed — check edfringe.com or underbelly.co.uk) Price: Check venue for current pricing

The powerhouse magician James Phelan who consistently is one of the highest rated magic shows at the Festival, and arrives in Edinburgh fresh from a sold-out West End run at Underbelly Boulevard Soho and a headline-making turn on Britain's Got Talent. He's the first magician in history to sell out a two-week solo run at The Magic Circle, and became nationally famous after correctly predicting National Lottery numbers live on air — a moment that reportedly jammed the BBC switchboard. Showman is a five-star-rated, 75-minute blend of large-scale staging, audience participation and comedy, following on from his earlier Fringe hit The Man Who Made Magic.




3. Guys Sing Dolls


Venue: Assembly Rooms, Ballroom Dates: 12–21 August 2026 (also listed 5–31 August at Assembly — confirm exact run when booking) Price: From £16.25

A five-star, sell-out musical-comedy cabaret returning to the Fringe. Four professional male vocalists — plus Neil the pianist — tear through the biggest diva anthems in music, movie and musical theatre history, wrapped in self-deprecating humour and audience-pleasing showmanship. Described as "a camp and theatrical extravaganza with a huge amount of heart" by Theatre and Tonic.




4. Swamplesque



Venue: Assembly Hall, Main Hall Dates: 6–30 August 2026 Price: From £14.25 Content note: Nudity, scenes of a sexual nature, strong language

Billed as the hottest ticket of Fringe 2024 and 2025, this ogre-inspired burlesque and drag parody returns having smashed box office records across Australia and the UK. It's an award-winning, five-star-rated show — "rarely have I been in a situation when a review is hard to write because it is such perfection" (GetTheChance.wales) — mixing burlesque, parody and a genuinely large ensemble cast for a high-production-value night out.




5. DIVAS: From Stage to Screen


Venue: Gilded Balloon Patter House Dates: August 2026 (check Gilded Balloon listings for exact run) Format: Live band with a cast of professional singers

Winner of Best Theatre Production at TheatreScotland.co.uk in both 2022 and 2023, this five-star production returns with a live band celebrating icons spanning Carole King, Cher, Shirley Bassey, Raye, Reba McEntire and Sabrina Carpenter. High-energy and fast-paced, it's been praised as "a professionally executed show and a great way for a music-lover of any age to spend an hour" (Broadway.com).




6. Max Fulham: Memory Foam



Venue: Jack Dome, Pleasance Dome Dates: 5–31 August 2026 (not 17 August) Time: 7:00pm

Following a sold-out Edinburgh debut in 2025 that saw him longlisted for Best Newcomer, ventriloquist and comedian Max Fulham returns with a brand-new hour blending stand-up, sketches, audience interaction and a cast of gloriously ridiculous puppet characters. Memory Foam sees Fulham rummaging through family memories and forgotten keepsakes, with unexpected voices emerging from the unlikeliest places along the way. He's been described as "exceptionally talented" by Rowan Atkinson, and reviewers have called him "the most skilful ventriloquist of his time" (North West End). Fulham is also running a family-friendly companion show, Max Fulham's Monkey Business, at Gilded Balloon Teviot's Dining Room, 11:50am, 5–16 August.




7. Bernie Dieter's Club Kabarett



Venue: Underbelly's Circus Hub on the Meadows Dates: 8th to 29th August 2026

Winners of Best Show 2026 at Brighton Fringe and recipients of a Five Star Offie Award in London, this show imagines a meeting of two of entertainment's most flamboyant legends. It arrives in Edinburgh direct from a West End run that included stops at New York's 54 Below and Feinstein's — serious pedigree venues for cabaret performers — making this one of the buzzier transfers into the 2026 programme.




8. Salty Brine: How Strange It Is (The Neutral Milk Hotel Show)



Venue: Summerhall (Dissection Room) Dates: Thursday 6 – Sunday 30 August 2026 (not 12, 17, 24 August) Time: 9:30pm (90 minutes) Price: From £14.50 (previews £10)

New York cabaret star Salty Brine (Stage Fringe Five, 2024) is known for splicing a classic album with a classic work of literature. This UK premiere fuses Neutral Milk Hotel's 1998 cult album In the Aeroplane Over the Sea with Anne Frank's The Diary of a Young Girl, alongside Brine's own confessional storytelling. Reviewers have called his earlier work in the Living Record Collection "astounding," and one outlet noted it can make "other Fringe efforts look distinctly pedestrian" by comparison.




9. Jess Robinson: Elton Reimagined



Venue: Assembly George Square Gardens Time: 7:15pm

Jess Robinson is a pitch-perfect impressionist known from Spitting Image, Channel 4's The Last Leg and Radio 4's Dead Ringers. Here she reimagines Elton John's biggest hits sung in the voices of iconic women vocalists — a genuinely inventive concept from a performer with serious broadcast credibility and years of stagecraft behind her.




10. #SHORN — Elsa McTaggart

Venue: Check theSpaceUK listings Dates: August 2026

Elsa McTaggart, accompanied by Gary Lister, celebrates 15 years of touring and five-star Fringe performances with this show blending original song, eclectic musical styles and spoken-word anecdotes. It's a smaller-scale pick compared to some of the bigger venues above, but it comes with a genuine long-term track record of acclaim at the festival.




A note on booking

Fringe schedules, venues and times are subject to change right up to and during the festival — always confirm details on edfringe.com or the venue's own site (Assembly, Underbelly, Gilded Balloon, Just the Tonic, Summerhall, theSpaceUK) before you book. Several shows on this list (Swamplesque, Reuben Kaye, the burlesque festival shows) contain adult content, nudity or strong language — worth checking age guidance if you're booking for a group.

Tuesday, July 14, 2026

 

Our 10 Unmissable Magic Shows at the Edinburgh Fringe 2026

by Bea Sterling


Sigfreid and Joy are performing one night only.




1. James Phelan: ShowmanUnderbelly's Circus Hub on the Meadows, 5.15pm



This is the show to see this year, and Phelan comes with the kind of momentum that you can't fake - two sold-out West End runs at the Adelphi Theatre and Underbelly Boulevard, a huge theatre tour, and the distinction of being the first magician ever to sell out a two-week solo run at The Magic Circle. 

It's fair to say James is magic's brightest rising star and his reviews reflect that with Edinburgh Weekly calling him 'Edinburgh's new king of magic'.

It's special. Along-side amazing magic, Phelan performs with a warmth, showmanship and charm that is sadly uncommon among magicians, and is enhanced by his high-end production values in one of the Fringe's most beautiful spaces.

 



2. Mario the Maker MagicianUnderbelly, Bristo Square, 11.00am



I love Mario the Maker and this is what magic should feel like. Many people have seen Mario's show over the last few years, and despite it being a kids show, I've never once heard anyone not enjoy it. There's a reason: this isn't a magic show you politely watch, it's one you get swept into. 

Mario builds his own robots, does slapstick like a silent-film clown, and somehow makes card tricks and homemade contraptions feel like the same act of wonder. He's been on The Tonight Show, Sesame Street and toured with David Blaine, who's called him "the best kids magician in the world" — but the reviews that matter are the ones from parents who say they laughed as hard as their kids did. It's chaos, but disciplined chaos, and the warmth underneath it is real.

Take the kids or go on your own, either way you'll have a great time.




3. Ben Hart: The LabyrinthAssembly George Square Gardens, 6.20pm



Ben Hart is great. He is the magician (or is it Witch?) other magicians go and watch, with fans including Dynamo and Penn & Teller he has pedigree. His shows have a literary, slightly unsettling quality — less "look what I can do" and more "let me take you somewhere." 

I first saw Ben's show in 2018 and I've been a fan ever since. The Labyrinth leans into atmosphere and storytelling rather than big reveals, and beautiful production, which makes it a good pick for anyone who finds standard magic-show patter a bit much. This is the one you think about on the walk home.




4. Colin Cloud: HoaxPleasance Grand, 7.30pm



Cloud has been a staple at the Fringe for well over a decade. A Scottish local, earning his reputation the hard way - America's Got Talent, Britain's Got Talent's Ultimate Magician, and his Fringe shows have sold out and placed in the top three of over 4,000 acts in past years. 

Hoax is his newest, built around his typical mentalism and mind-reading material and the unsettling question of how easily belief can be manipulated. It's usually smart, a little uncomfortable, and exactly the kind of show that generates queues and word-of-mouth by week two.




5. Charlie Caper: Magical — PBH's Free Fringe, 6.30pm



Caper is one of the most travelled magicians alive — 70-plus countries, and now he returns to the Liquid Room with his ever popular street show that blends old-school sleight of hand with his love of robotics research (he spent his pandemic downtime as CCO of a robotics company, which tells you this isn't a gimmick bolted on). Previous Edinburgh, Adelaide and Perth audiences have already rated it five stars across the board. It's the show for anyone who wants magic that feels polished, nostalgic and charming whilst revitalising the classics.




6. Andrew Frost: Just Let Me Have ThisPleasance Baby Grand, 3.25pm



Frost has the kind of endorsements that you can't buy — Derren Brown calling him "a brilliant magician," David Blaine calling him "a phenomenon." The show's premise is a bit meta: he just wants to do a fun card magic show, but the audience keeps trying to work out how he's doing it, so he has to escalate. It's funny and technically sharp in a way that rewards people who think they already know how card magic works.




7. David Alnwick: Objectively the Best MagicianPBH's Free Fringe, 1.30pm



Alnwick's been doing this at the Fringe for fifteen years, and it shows in the best way — this is a magician who's completely at ease riffing with a crowd. He's built a reputation as one of the funniest performers in comedy-magic specifically, with reviewers repeatedly calling him "the most spontaneously funny magician on the Fringe." 

It's a free show, which makes it an easy, low-stakes way to fill an afternoon slot and walk away pleasantly surprised.




8. Tom Brace: The Tom Brace Magic HourPleasance Dome, 4.50pm



Brace is one of those dependable Fringe names you build a day around — not flashy in the way some of the bigger names are, but consistently polished, funny and well-liked year after year. If you want a show that's a safe bet rather than a gamble, this is it.




9. 1 Hour of Insane MagicGilded Balloon at Teviot, 5.30pm



These boys have been on quite a journey over the last three or four years and are riding real momentum into Edinburgh this year. Whilst not being the most polished or high-end magic show, it is bankable, you can trust it and it has a youthful cheekiness that means it had a huge Adelaide Fringe 2026, selling out crowds, and finishing with amazing ratings for the entire festival. 

It's built for a big room and big reactions rather than intimate close-up work, so go in expecting spectacle over subtlety.




10. Oliver Tabor: Magical MaestrotheSpace @ Surgeons' Hall, 11.50am



Tabor's been a fixture of UK magic for decades, at the helm of London's longest running magic show 'West End Magic', and this show fuses live music with illusion in a way that's genuinely distinct from the rest of the list. It's a gentler, earlier-in-the-day slot, and a good palate-cleanser if you've been to a few high-energy shows already and want something more elegant.

Thursday, July 9, 2026

Swamplesque — Soho Theatre Walthamstow

 ★★★★ (4/5)

There's a special kind of joy in watching a room full of strangers collectively lose it over a burlesque tribute to Shrek, and Swamplesque delivers that joy in spades. This is the show's first proper London run after smashing box office records at Edinburgh Fringe, and it's easy to see why it's built such a devoted following.


The premise barely needs explaining: Trigger Happy's Swamplesque takes the beloved DreamWorks universe and runs it through a drag-and-burlesque blender, reimagining Shrek, Fiona, Donkey, Lord Farquaad, the Magic Mirror and the rest of Far Far Away as a cabaret troupe with absolutely no shame and even less clothing. Trigger Happy himself opens the show as Shrek with a gloriously unselfconscious striptease, all string vest and moleskin waistcoat giving way to tasselled nipple pasties, and from there the show never once takes its foot off the gas.

What elevates Swamplesque above novelty-parody territory is the sheer craft on display. Tash York's Princess Fiona is the clear standout — she's the only performer singing live rather than lip-syncing, and her vocals genuinely anchor the whole show, giving it a heart underneath all the glitter and innuendo. The Magic Mirror's roller-skating routine to "Man in the Mirror" is a joyous piece of theatrical invention, and the Gingerbread Man's "Buttons" number (set to the Pussycat Dolls, naturally) had the whole auditorium cackling. There's also something quietly brilliant about the show's commitment to body positivity — every shape and size is represented on that stage with total confidence, and it makes the whole night feel more inclusive and warm than your average burlesque show.

Soho Theatre Walthamstow itself deserves a mention too. This gorgeously restored 1930s art deco venue, once the Walthamstow Granada, gives the show a genuinely grand backdrop — there's something delightful about watching Shrek strip to "Hallelujah" underneath the kind of ornate ceiling that once hosted The Beatles.

If I'm holding back a star, it's because the show leans a little heavily on lip-syncing and film-clip nostalgia in places where a bit more original, live comic delivery might have sharpened the parody further — a few sequences coast on recognition rather than genuinely reinventing the material. It's a small quibble against a night this fun, though.

Ridiculous, rude, and executed with real skill — Swamplesque is a five-star night out that just occasionally forgets to fully commit to its own cleverness. Four stars, and a very enthusiastic recommendation.

Wednesday, February 11, 2026

 

Derren Brown: Only Human — Mayflower Theatre, Southampton

★★★ (3/5)

There's a version of this review that writes itself, because it's the one every other critic on this tour has already written: sleek staging, magnetic performer, jaw-dropping finale, standing ovation, don't-tell-anyone-what-happens. I wish I could file that review. I can't.

Let's start with what does work, because it isn't nothing. The production values are genuinely first-rate — the set has that stark, industrial brickwork look, the video design is used cleverly rather than as wallpaper, and the lighting does real work creating unease and intimacy in a room this size. On pure texture, it's a handsome show. That's about where the praise runs out.

Derren Brown: Only Human

The trouble starts with the title itself, which as far as I can tell means nothing in particular — there's no throughline that earns it, no moment where "Only Human" clicks into place as a thesis. That's symptomatic of a bigger problem: the show doesn't seem to know what it's about. Past Brown shows have had a spine — free will, legacy, an audience member's grief, a story you could summarise in a sentence. This one doesn't. It opens with a sequence involving gas cylinders that has no clear connection to anything that follows, and there are several other passages that feel bolted on rather than built toward — moments that actively undercut the credibility of the routines around them rather than reinforcing it. Once an audience stops believing one trick, they start picking at all of them, and that's exactly what happened around me.

Structurally, it just isn't there. Brown's best shows have the shape of a three-act play, each beat earning the next until the final revelation lands as inevitable. Only Human rambles. There's a lot of loosely-connected mind-reading that, if anything, felt less convincing than what I'm used to from him, and the show simply stops rather than building to the gut-punch climax his best work always finds. All the windup, none of the pitch. It's tempting to wonder whether the absence of Andy Nyman — Brown's long-time writing collaborator, currently on stage in the West End with The Producers — is part of why the material feels so much weaker than anything I've seen from him before. Whatever the reason, this is the thinnest writing I've encountered under his name.

The performance itself compounds the problem. This is a 2,500-seat theatre, and Brown played it like a much smaller room — at points like no room at all, muttering toward his own feet rather than projecting out. If it landed anywhere, it landed with the front few rows; the rest of us were largely locked out, both literally in terms of volume and figuratively in terms of engagement. Several sightlines simply didn't work for a house this size, and a good chunk of the audience around me was visibly struggling to follow both the geography of the stage and the thread of what was being asked of participants. Mind-reading as a genre lives or dies on charisma and control of the room — the confidence to make an audience believe, in the moment, that something impossible is happening. That energy just wasn't there. Brown seemed to lack the warmth and stage presence this style of show depends on, and without it, routines that should feel uncanny instead feel like watching someone's homework.

Even the poster art and the title feel like an afterthought, evidence of a show that never quite decided what story it was telling about itself before going out on the road. And crucially, it missed the thing Derren Brown shows are usually built around and remembered for: the handful of true WOW moments that send audiences out arguing about how it was done. There wasn't one here.

Perhaps most damning of all: this is a show that has been touring for the best part of a year, and it still felt like an underbaked preview. There's no excuse for that at this stage of a performer's career and this stage of a run. If Only Human doesn't sharpen up considerably before it reaches the West End, I think Brown will struggle. West End economics don't forgive a show that can't generate strong word of mouth and repeat business — you cannot out-advertise a bad first impression, and this one leaves plenty of people with exactly that.

Verdict: Beautifully dressed and badly under-written — a rare off-night for a performer capable of so much more.

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