(5 / 5)

I am sure that all of us consider at least one Conspiracy
theory to be true. Or at least question it. But is it a conspiracy, fake news,
or are we easily convinced?

Barrel Organ bring us an hour of questions, of theories, of
arguments, mistrust and a jumble of opinions. Three freelance researchers are
recording their findings on the famous picture of a line of men, sat eating
their lunch on a skyscraper above New York. What this begins in a series of
fast paced, believable explanations and theories behind how they got there and
the realism of the ‘facts’ they have in possession of.

Conspiracy is a really minimal production. It is completely
about the narrative, with imagery and props only to help along the story. It is
really fast paced – imagine explaining something exciting to someone with no
idea of the content – you become fast, full of energy and eager to surprise the
listener. Now throw this into a play at a constant.

It is so well written and with the combination of the
amazing performers, you almost cannot believe that it is scripted. It feels
like a real conversation; there is so much information that you cannot believe
it is just rehearsed lines and the interaction between the characters is so
naturalistic and real that we almost feel intrusive into the broadcast.

Events eventually come to a climax, and the exasperation,
the anger and frustration feels real but we cannot help but laugh. The comedy
is completely on point – it is subtle, it is often brought with the right
pause, the right intention, sometimes is even a subtle facial expression or
gesture and you soon find yourself in complete hysterics.

Conspiracy is everything you want in a production – realistic, engaging and hysterical. Somehow you come away almost believing the content on stage, questioning conspiracy theories but also thoroughly entertained.

(5 / 5)

I am so happy with this year’s fringe and the abundance of
solo female shows. Something that I have always wanted to do myself, it is
great to see such confident, talented and inspirational women storming the
stages of Edinburgh.

This is no exception of Roisin Crowley-Linton. Physically
and figuratively, Crowley-Linton bares absolutely all to us on stage.
Crowley-Linton works with teenagers, and this brings her to compare her teenage
years with those of today; to be honest about the risky and at times sensitive
events she has been through, and at the same time, giving great advice.

Stand up, meets spoken word, meets music and cabaret,
Crowley-Linton has put together a meaty show. But it does not feel at all
overwhelming. Everything moves swiftly and smoothly into one another, drawing
on each story to involve the next. We feel like we are experiencing a story,
but as if we are also there having a chat with her.

There is plenty of audience interaction, but stating from
the start, Crowley-Linton is not here to ‘take the piss’ out of us, nor is she
here to call us out. She asks us questions such as a song that reminds us of being
a teenager, or where our first kiss was. We also are encouraged to talk to one
another, becoming close friends and being honest with strangers. It feels like
a safe space, and she always makes sure we are okay.

Crowley-Linton is also completely hilarious. Perhaps
relating more to a generation in their mid to late twenties with specifics of
their teenage era, there is still an abundance of ages in the room who resonate
with the themes and with her as a person.

Teenage Kicks is not just a performance. It is a friendship group. It is relaxed, honest, raw and Crowley-Linton is an incredible woman to bring a piece to stage where she opens herself up to us, unashamed and with complete humour.