Edinburgh Fringe 2026 reviews round-up: Harriet Richardson, Ele McKenzie, Imogen Andrews

Could one of these acts win the best newcomer at this year’s Edinburgh Comedy Awards? Reviews of shows performed 23 August, 2026.Harriet Richardson: CreepBelow at Pleasance CourtyardHarriet Richardson - CreepAndy BeillThere is far more to this show than the toe-curling celebrity affairHaving seen an early WIP of Creep, I had no doubt this show would go on to capture attention at the Fringe. Performance artist Harriet Richardson might not quite have expected her very first step into comedy to take off the way it has, selling out the entire run in the opening days of the festival and adding in extra performances along the way.Not that this is the first time she’s tasted success in the fields she works in. Having 100 virtual dates in a day and getting a tattoo of all of her sexual partners’ mother’s names were both online viral sensations, and form part of the story of Creep.The big buzz around this show will predictably be for the eponymous (and, for legal reasons, anonymous) ‘former Taskmaster contestant’ who slides into her DMs and so begins the spiralling story. A dalliance on celebrity dating app Raya brings another set of famous bachelors into the slideshow she effectively uses to share her experience which largely played out on digital platforms. Just as at the WIP I attended, there were gasps from the audience at these private messages and profiles being shown on screen. But certainly among some of the young female members of the crowd, it seems like this is only building on the celeb gossip and world of dating they’re already entrenched in. The moment the first Raya profile appeared on screen, a whisper behind me didn’t miss a beat: ‘I knew it would be him.’But there is far more to this show than the toe-curling affair. An array of characters come into Harriet’s world – a private investigator, a reverend, an ex’s mum – who add much lightness and warmth beyond the moments of self analysis and toxic lust. See it live if you can; an eight-night run at the Soho Theatre is already announced. ★★★★★Ele McKenzie: Bringing It All Back HomeBunker Two at Pleasance CourtyardEle McKenzie - Bringing It All Back HomeAndy BeillYou want some engrossing to go with the plain grossEle McKenzie is one of the most exciting talents breaking through in UK comedy, having starred in the underrated BBC sitcom Funboys and honed her live act at London venues like MOTH Club. That act is her awkwardly unashamed, stay-at-home-masturbating outsider; as she puts it herself, she has no interesting life experience to draw upon.And that’s where this show slightly under-delivers. Over a whole hour, you want some engrossing to go with the (albeit very funny) plain gross. A story of a fantasy relationship with Bob Dylan shows how she can write and pull off a longer bit, and the show would probably benefit from going down some more curious avenues like this. The right role or show needs to propel Ele McKenzie into the alternative comedy big time. ★★★☆☆Imogen Andrews: The Unlikeable WormsAce Dome at Pleasance DomeImogen Andrews - The Unlikeable WormsAndy BeillShe’s funny, so why does this not quite successfully transfer from online reel to live act?Imogen Andrews is funny. And she's very capable on stage, unflustered and adept at ad libbing when the room's reaction isn't as intended. This isn't a failed drama student dipping an unwanted toe into comedy – we all know that when we see it. So why does this not quite successfully transfer from online reel to live act?It's certainly not without its humorous moments but some sketches run on a little longer than desired when you want to see which character is next up her sleeve. You might predict some of the choices – rich mummy, grating estate agent – but there is more range than that, even giving a short glimpse of pretty decent musical comedy.It feels too easy to write ‘this would've been better as a TikTok’, but it's unavoidable when some of the interstitial videos played during costume changes were the strongest sketches. ★★½☆☆