Irish stars shine at The Fringe

MORTAL SIN

Written by Benjamin Reilly

Wee Room @ the Gilded Balloon Teviot

MORTAL Sin (above) takes us on a journey of friendship and growth between the two characters Colm and Peggy in 1960s Ireland. JFK has just been shot, and the two young friends believe this calls for a day off school. They make naive attempts to resist the system and defy their elders. Though the young friends share moments of light-hearted play, their thoughts and actions are ultimately subsumed by the pervasive Catholic mindset of the era.

Written by Benjamin Reilly—an acclaimed young Irish playwright and graduate of the Gaiety school of acting—the young writer’s promise shines in Mortal Sin. It cleverly explores many aspects of youth through the cultural lens of a very conservative Catholic Ireland. Benjamin played the role of Colm and was joined on stage by young Limerick actress Isolde Fenton. They skilfully switched between engaging back and forth between the characters and asides where we hear their inner thoughts and fears for each other. We get to see the characters grow and reflect on the dreams they have and whether they achieve them climaxing in an emotional end.

The play was gripping throughout and while reflecting on Ireland in the 1960s reminded me of my less distant time in rural primary school, proving the modern relevance and lasting impact of the time. Leaving with a heavy chest it was one of the few times during the Fringe that I was moved.

While likely to resonate with Irish audiences, its acclaim should be focused on its ability to uniquely translate a complex and poignant period in Irish history. Receiving high praise at the Fringe, it was recommended to me by a Danish man who said it gave him a touching insight into the Irish experience, noting that it left a lasting emotional impression on him, even if some of the finer cultural nuance was lost.

The play was promoted by Culture Ireland—the government agency dedicated to promoting Irish culture abroad—and ran seven other successful productions this Fringe. Among them ‘The King of All Birds’ based on the infamous trend of aerial photography in Ireland in the second half of the last century and ‘For Dolores’ a play about two young adults one Scottish and one Irish as they navigate adulthood. A true display of Irish art and tradition. Be sure to keep your eye out for what they bring next year.

HAM SANDWICHES AND DISCIPLINE

Written and choreographed by Nóra Ní Anluain Fay

Studio Two at Assembly George Square Studios

THE national sport making major waves internationally in recent years featured in not one, but two shows at this year’s Fringe. Ranging from interpretive dance to political commentary, the Gaelic game set the backdrop for a fresh exploration of Irish culture.

The first Ham Sandwiches and Discipline was an interpretive dance show about GAA and its cultural effects performed by the Dublin based company NAF dance. The show spanned choreographed sequences depicting different aspects of engaging with the game. From bainisteoirs shouting on the sidelines, to discos at the club on Friday nights to the soggy ham sandwiches that football mums give out at half-time, it had it all. Retro costumes and modern jokes meant there was something for everyone. There was even a playful take on the contentious virtual refereeing system the ‘Hawkeye,’ where they dressed as birds. While at times absurd and perplexing, the show was precisely the kind of wild experiment the Fringe exists for.

THE PITCH

Written by Philip Catherwood

Directed by Thea Mayeux

Baby Grand at Pleasance Courtyard

THE second show featuring the beloved sport was The Pitch (above). A more serious play set in East Belfast as two young boys argue over the use of a playing pitch for Gaelic games or soccer, set to the backdrop of a looming fictional independence referendum.

The two boys Robbie and Daren bond over a mutual love of sport. Robbie is initially perturbed by what he feels is a takeover of his turf, while Daren displays that the games don’t have to be exclusive and that sports have a power of bringing people together. While exploring complex themes of Irish independence, the show kept things lively with wonderfully dry and witty character commentary. Ultimately the play’s message was to have empathy even for those you disagree with and was strong in its messaging around compromise and coming together.

It was interesting to see GAA portrayed in this way and showed how a niche sport of a small country can convey so many subtle and complex aspects of a nations culture.

I hope these shows while greatly varying in their depiction, prompted the international audiences to explore the game further. Gaelic Football is now played in 60 countries worldwide, far exceeding the original confines of the Irish diaspora, with highly active university and community teams here in Scotland. This Fringe is was great to see that the international cultural legacy of the game was no longer limited to Paul Mescal’s short shorts.

Irish stand-up comedy is bigger and better than ever. Long one of the nation’s greatest exports, Irish comedians made a huge impact at this year’s Edinburgh Fringe. From bold debuts to seasoned festival staples, there was a punchline for everyone in the audience. Here is a roundup of some of the finest Irish comedians the Fringe had to offer.

David O’Doherty—At This Stage

DAVID and his mini keyboard returned 25 years since his debut. Blending his simple yet side splitting songs and story telling, the self-proclaimed ‘Lidl Bruno Mars’ draws audiences from far and wide. Making fun of the everyday, like coffee cup lids and cold-water swimming, this year he reflected on turning 50, and spending half his life on the comedy scene.

Packing the 500-person lecture theatre day-in and day-out O’Doherty is a highlight of many people’s trip to the festival. In the off season you can still consistently catch him in some of Dublin’s most famous comedy clubs, right back to his roots. He’s also a fan favourite on when 8 out of 10 Cats Does Countdown’s dictionary corner.

Jason Byrne—30 Years Byrneing

Dubbed ‘the outright king of live comedy’ by The Times he holds the accolade of being the bestselling comedian of all time at the Edinburgh Fringe and returned this year with another hit show to the magnificent Assembly Hall.

Infamous for his controlled chaos and audience participation, people come knowing their in for a treat and desperately trying to avoid the first few rows.

Beyond the Fringe he makes regular appearances on UK and Irish television and takes his show on tour around the world.

Rachel Galvo—Work in Progress

FOLLOWING her critically acclaimed debut, The Shite Feminist, at last year’s Fringe, Galvo returned this year for just a week to warm up her new show.

Known for her confessional storytelling and sharp crowd work she presented a more mature hour on the trials and tribulations of young Irish women in their trying to make it big and win at love.

Grace Mulvey—Gigantica

THIRD times the charm for Mulvey as she returned to Edinburgh with her show exploring her relationship with her dad among other blunt and apt observations on body confidence, millennialism and relationships. She proved her clever writing and was extremely popular with audiences for her fresh and honest storytelling.

Vittorio Angelone—you can’t Say Nothing any more

STARTING the month off with improv in Monkey Barrel, Angelone closed the festival out with three sell-out dates in Assembly Hall.

After his breakout year appearing across panel and chat shows, the Italian-Irish comedian returned to the festival for the fourth time as a hot ticket in town. He presented his sharp political commentary and personal experience on growing up in post-Troubles Ireland.

He’s an act we’re likely to see on our TV screens time and again in the coming year.

Mike Rice—Cruel Little Man

THE other half of Angelone’s podcast double act was a hit this year with a sold out run of his show Cruel Little Man in additional to a popular showcase of his work in progress at Monkey Barrell.

Kilkenny-born Rice is known for his unique dark and unfiltered storytelling mixing crazy personal anecdotes with physical comedy and engaging crowd work.

Aoife Dunne—Good Grief

PROVING its never too late to join the party, Dunne marked her debut last year at the Fringe at 35. She returned this year to the gilded balloon with an extended sold-out run of the show. After initially struggling to sell seats she launched a viral Instagram and tiktok campaign that filled every seat.

Her show centred around losing her mother at a young age and the journey of finding herself to ultimately end up here on stage at the Fringe.

Emma Doran—Emmaculate

APPEARING on all the greats including the Late Late Show, The Tommy Tiernan Show, Republic of Telly and Celebrity Goggle-box, Irish household name, Emma Doran, made her Fringe debut this year.

Selling out and running extra shows she took Edinburgh by storm. In her signature dry and sarcastic form, her show—which focused on her personal life and observations—was an overwhelming hit.

Rory O’Hanlon—Honestly

APPLAUDED by the Irish Times for his joke every 30 seconds O’Hanlon took to the stage this August for his 16th consecutive solo show at the Fringe.

High energy observational comedy. He’s come a long way from his beginnings from his Dublin underground comedy club beginnings to be a firm fringe staple.

Aidan Greene—Stuttermilk Pancakes

MAKING his tenth appearance at the Edinburgh Fringe Greene is highly regarded in Ireland and at the festival as a confident and established niche comedian.

Refusing to be ashamed of his stammer, his light-hearted self- deprecation has won him many awards and there’s no indication of him slowing down.

100% Funny Feckers

FOR the last six years you can be graced with the best free Irish comedy showcase in town. Led by Wes Dalton, Funny Feckers packs the bottom room of the Hanover Tap day-in, day-out and it one of the best ways to find cheap and unforgettable craic.

This was just a small portion of the great Irish talent on display at the Fringe Festival this year. Keep your eyes peeled for more great comedy in 2027.