Shrouded in cool blue lighting, disheveled yet seemingly at peace, sits one of the main characters; when the lights come up, the warm yellow feels nostalgic and is a stark contrast to the desolate atmosphere of the would-be cafe, had the apocalypse not stunted business.

Impeccably timed and beautifully staged, Coincidences at the End of Time is a pleasure to behold. While on the surface a relatively simple concept, and one that I expected I would struggle to take seriously, the play is incredibly meaningful and poignant, as the two protagonists use the end of the world as an opportunity to figure out where it all went wrong in their relationship six years ago. Not exactly your generic meet-cute.

Particularly notable is the clever use of lighting to transition between past and present as the characters act out “landmarks” of their relationship, each resonant in their own right. The dialogue is well thought out and evocative, the scene changes flawless and the plot relentlessly captivating, making Coincidences at the End of Time the highlight of my 2015 Fringe experience.

Coincidences is also very relatable; the audiences sees in the characters elements of past relationships as the answer to the question “Do you remember when we first met? Can we go back to that?” unfolds before them. The plot of Coincidences also allows McArdle to explore the reality of two people who have been given the opportunity to re-live their relationship and see things (quite literally) in a new light. They’re not re-living to revive, they’re re-living to understand, demonstrating a level of self-awareness and sensitivity that’s hard to capture in performance.

Ending the Fringe season with a bang, Coincidences is a deeply touching, evocative and intimate show that exceeds expectations and captivates the audience to the bitter, apocalyptic end.

I’m pretty well versed in the art of online dating. In fact, having downloaded and consequently deleted Tinder an awe-inspiring four times, I’d even go as far as to say I’m an expert. As a result of said online dating experience, I walked into It’s Complicated. feeling a little bit self-assured, the way a dedicated student might walk into an exam. As it turns out, I actually had quite a bit to learn about the intricacies of modern love and lust that are so often experienced through an impermeable screen.

Hamartia Theatre’s debut show, It’s Complicated., is, rather ironically, a simple story of two housemates at opposite ends of the dating spectrum, with one character in a serious relationship and the other playing the field (i.e. sleeping with anything with a pulse). By juxtaposing the two approaches to dating embodied by the protagonists, It’s Complicated. is humorously self-aware, honest and isn’t afraid to declare what we all know about Tinder but are perhaps too pious to say out loud (because let’s be honest, it is basically “McDonald’s for sex”, as the narrator of It’s Complicated. unabashedly proclaims).

Tackling club hook-ups, Skype romances and the humble blind date, It’s Complicated. explores the avenues of romance available to us in the 21st century, making for incredibly relatable and familiar viewing. Moving seamlessly from one location to the next and using a total of four stools, a couch and a table, the show is nothing fancy, but it’s a performance that’s very grounded in reality.

The value of a show like this is often overlooked in favour of more nuanced shows that push the boundaries of theatre and make conjectural observations about life and love and sacrifice. Sometimes, it’s just nice to see a grassroots performance that calls it as we all see it. In this sense, It’s Complicated. definitely delivers.

It’s Complicated. runs until the Sunday the 22nd of February. You can find tickets via the Fringe World guide here.

As Sharon Mahoney half-struggles and half-saunters on stage, clad in an ostentatious blonde wig and a glorified tinfoil space suit, the crowd knows they’re in for a good time. Tackling mental health issues isn’t an easy thing to do in a comedy show, but Mahoney manages it by using metaphors, analogies and larger-than-life alter-egos to depict her own battles with the lion that she refers to as an “existential metaphor” for her anxiety.

Mahoney’s Dr Phil-esque character is by far the stand out of her performance, altruistically encouraging the audience not to let their biggest fears get the better of them whilst still maintaining the endearingly satirical quality that Mahoney is renowned for. From a mock battle with a lion hand puppet to ass touching to flawlessly portraying the ultimate Canadian stereotype, Sharon’s show has it all. Clearly an experienced performer, Mahoney transitions seamlessly between her bizarre, eccentric alter egos, leaving the audience with the distinct impression she’s not holding anything back.

Some of the jokes in The Lion, the Bitch and the Wardrobe do fall a little flat, mainly because the show is incredibly well-rehearsed, leaving Mahoney little room for improvisation based on the audience’s energy and reactions. For the most part, however, Mahoney’s content is engaging, humble and at times, unapologetically feminist.

A touching, honest and skillfully-crafted comedy show, The Lion, the Bitch and the Wardrobe is a must-see for anyone wanting to fight their inner demons, or lion as the case may be, and have a bit of a laugh along the way.

The Lion, the Bitch and the Wardrobe runs until the 17th February. Tickets can be purchased here.

A show Bloustien has brought back from the dead (well, two years ago), for this year’s Fringe Festival, Dave Bloustien’s Complete History of Western Philosophy is less about Western philosophy and more about Dave answering one of life’s big questions, “Am I racist or was that just an unhappy coincidence?”

Inspired by a case of mistaken-identity-cum-potential- instance-of-inadvertent racism, Bloustien’s show details his perusal of a book he stumbled upon at a mate’s house, and how it helped him come to terms with his diversion from his self-confessed ‘lefty’ views. Bloustien is a brilliant improviser, playing on the audience’s reactions and adapting his content to their responses which, while incredibly entertaining, tended to draw focus away from the main story of how Western philosophy saved Bloustien from the clutches of an identity crisis.

While it is Bloustien’s dynamic character that initially entices, the audience stays for his expansion on the ideas and themes of his encounters, drawing abstract connections to Western philosophy along the way. Prior to seeing this show, I would never have thought it possible for someone to outline their allergic reaction to a pony in the same breath as the delicacies of Descartes’ “I think therefore I am”, but Bloustien makes it happen.

Unexpected and hilarious from start to finish, Dave Bloustien’s Complete History of Western Philosophy is a must-see for those who like their comedy with a hint of existentialism.

Dave Bloustien’s Complete History of Western Philosophy runs until the 7th February At Noodle Palace and has a one-off showing at Midlandia on the 19th of February, as well as one at Victoria Hall on the 6th February.

Tickets are available here.

I’ve never been a fan of puppets. For as long as I can remember, I’ve held them in about the same esteem as clowns: vaguely terrifying and not to be trifled with. That being said, I was optimistic about Puppet Fiction changing my relationship with these mildly menacing cloth props, and it’s safe to say it did not disappoint.

Pulp Fiction is an incredibly ambitious film that continues to capture the minds of viewers over a decade after its initial release, with Puppet Fiction reinventing the classic with a charmingly satirical quality, retaining the same relentless edginess of the film. Clocking in at three hours long if you choose to see it all at once (the show can also be viewed in three parts on separate nights), it certainly isn’t for the faint hearted, but is guaranteed to beguile even the most passive Pulp fan and enchant those who are entirely new to the franchise.

The Bootleg Comedy trio from New Zealand utilise slap-stick to expose layers of humour that are not so evident in the film. In particular, their use of improvisation when strings inevitably become tangled is highly impressive, further adding to show’s satirical bent. While not seamless, the tangles and twists that the puppeteers get themselves into are what make this show so endearing and engaging – as an audience member you genuinely feel part of the action and get the sense that the puppeteers are along for the ride just as much as you are.

An incredibly involved and intimate show, Puppet Fiction pays homage to Pulp Fiction whilst still being original in its own right, making clever use of the medium to put a unique spin on a much revered film.

Puppet Fiction runs until the 15th February. You can buy tickets here.