Soho Theatre

This review is from the 2025 Edinburgh Festival Fringe. In this sweet debut Fringe hour,  Lewisham-born-and-bred stand up Toussaint Douglass threatens us with 55 minutes of jokes about pigeons.  As a stickler for high-concept shows, I was a little disappointed to discover this was a colossal overstatement: there’s maybe 15 minutes on the ubiquitous winged rats. But they’re 15 good minutes, not least the show’s brilliantly chaotic cold open where Douglass makes one audience member drive a stuffed pigeon strapped to a remote control car around the room while others are made to try and feed it bread. For the most part Accessible Pigeon Material is a show about Douglass and his family, though he has a pleasingly idiosyncratic way of approaching what might otherwise be fairly humdrum material. There’s some great gags about Lewisham and some charming stuff about living with his ‘87-year-old flatmate’ (ie his nan, for whom pigeons were emblematic of the UK when she arrived with the Windrush generation). Best of all is a sequence where he roleplays his geezerish father while an audience member is forced to play the part of a younger Douglass trying to get his pathologically undemonstrative old man to say ‘I love you’. That this last gag isn’t pursued with quite the self lacerating viciousness it could be is indicative of the fact that Douglass basically seems like a really nice guy, making a show about the things that interest him (which includes pigeons). Perhaps he’d benefit...

I wouldn’t really say Miriam Battye’s comedy The Virgins reminded me of my own teenage years, although to be fair this is probably because I was never a teenage girl. However, it did make me laugh a lot. Rosie Elnile’s set is divided into two rooms of the same unremarkable house, with a corridor in the middle. In the lounge, Joel (Ragevan Vasan) is silently playing on a console with his random mate Mel (Alec Boaden). In the kitchen, his teenage sister Chloe (Anushka Chakravarti) and her friends Jess (Alla Bruccoleri) and Phoebe (Molly Hewitt-Richards) are getting ready for a big night out.  The boys are not the focus here. The girls – clever, wordy, neurotic, virgins – are painstakingly crafting a plan to go out and get… snogged. They are smart and irrational, sweet and maddening as they try to naively micromanage their journey to adulthood. They’re treating kissing boys – and maybe more than kissing if it comes to it – as a sort of military operation to be planned, accomplished and ticked off. Deploy troops, storm the building, bring them home. But in part that’s their brains denying their actual horniness – for starters Jess is certainly incapable of vocalising the fact she obviously has a crush on Joel.  It’s hard not to see The Inbetweeners as casting a bit of a shadow here: I’m not saying Battye has even seen or been directly influenced by the C4 sitcom about a similarly aged, similarly neurotic group of boys, but at the least it’s a pretty good reference point for...

Even by the fairly vague naming conventions of stand up comedy shows, it’s hard to imagine what sardonic Anglo-Russian Olga Koch’s new show Fat Tom Cruise will be about. Apparently it revolves around a story Koch has to tell. And furthermore, it’s a genre-defying show with immersive elements. In the world of solo stand-up shows this could mean everything or nothing, but Koch is an undoubtable pro and if she’s stretching her wings a bit formally then so much the better.

Performance duo She Goat (aka Shamira Turner and Eugénie Pastor aka members of the beloved Little Bulb) return with an intriguing show about what it is to be strong as a woman. If that sounds a bit like it might be very earnest, don’t worry: Iron Fantasy is actually about the concept of physical strength, and follows a four year period in which the pair – to put it bluntly – got jacked in a effort to explore ideas and fantasies of physical power and strength. Expect plenty of quirk and whimsy along the way. 

Sarah Power’s new play follows a motley group of eccentrics as they try and save a local castle (apparently it’s more of a fort) by staging a sword fighting-heavy living history event there. But the difficult realities of small village life rear their head in Ed Madden’s production. Sean Delaney, Debra Gillett, Ali Hadji-Heshmati and Lydia Larson star.

The old adage ‘everything good comes to London anyway’ (is this an adage? it should be) once again holds true as the winner of the main Best Show comedy award at the 2025 Edinburgh Fringe transfers to Soho Theatre in very short order. Trans comic Sam Nicoresti had sort of hovered on the fringes of the Fringe in previous years with shows too weird or not quite finished enough to click with a wider audience. But the pointedly more mainstream Baby Doomer did the trick perfectly, an eccentric but accessible meditation on the trans experience, groaning with actual jokes.

Andrew Doherty’s idiosyncratic folk horror comedy Gay Witch Sex Cult was one of the most arresting stand up debuts at last year’s Fringe. And its follow up Sad Gay AIDS Play is a lot of fun. But it also sails into tropier waters than its predecessor, and though hardly a run of the mill stand up show, it does feel like it’s treading on some pretty well worn ground. Doherty again plays a preeningly precious and self-regarding version of himself, now attempting to write a follow up to last year’s hit. Unfortunately his wealthy parents are refusing to bankroll him this time, so he’s turned to the Arts Council England, who have no interest in the creepy Six-esque musical he wants to write. But upon hearing he’s gay, ACE suggests in the strongest possible terms that he write a play about AIDS. Doherty goes about all this very amusingly, and his secret weapon is his own stage persona. Weasley, brittle and self justifying, making art for all the wrong reasons, secure in the knowledge that mummy and daddy’s money will bail him out if things go south - it’s depressingly but hilariously acute satire. But a bad taste play about AIDS? In 2025? Really? Team America’s ‘Everyone Has AIDS’ was 21 years ago and it’s decades on from the flowering of the great AIDS related dramas. It’s an absurdly anachronistic provocation – a handful of off-colour jokes about The Troubles feel edgier. Likewise the bit where he throws in a scene about a simple working class lad from Newcastle because ACE...

A hit at last year’s Edinburgh Fringe, Hannah Caplan’s debut play is a headspinning meta-drama that follows Grace and Eli, a pair of friends in their mid-twenties whose relationshop becomes very intense and then falls apart. In order to makes sense of it all, Grace decides to write a play about it… but what’s true and what’s imagined beginsto blur alarmingly. Douglas Clarke-Wood directs.