Cora Bissett’s Fringe smash-hit What Girls Are Made Of has begun its Scottish tour this week with a week’s worth of shows at Tramway. This gig-style show tells the story of Bissett’s five minutes of fame back in the 90s, touring with the likes of Radiohead and Blur all before she had even turned 20. While the title shouts feminist anthem, the summary sounds a little indulgent to me. But, I could not have been more wrong. What Girls Are Made Of is an electric celebration of womanhood in an era when we have more opportunity, and inspiration, than ever.

Lynette Wallworth’s emmy-award winning documentary: Collisions, offers an incredibly immersive and awe-inducing experience. Armed with a VR headset and headphones, the audience are plunged into the Australian outback with the freedom of pivoting a full 360 degrees soaking up the beautiful landscape. We follow Nyarri Nyarri Morgan, member of ancient Martu Tribe and we hear his story of how ‘nature and science fatefully collided’.

Courtesy of Piers Mussared.

Enda Walsh’s Rooms captures five voices narrating five separate stories, being told in a manner and environment that absorbs the small groups of audience into their world, their perspective and their loneliness.

Courtesy of Andrew Downes.

Established 28 years ago by writer Rukhsana Ahmad and the director Rita Wolf, Kali has blazed the trail for stories told by women of South Asian descent. Born from urgent beginnings, Kali’s legacy still lives on, their mission to ‘develop and present groundbreaking, thought provoking, contemporary theatre by women writers of South Asian descent that reflects and comments on our lives today’ the driving force of every production or initiative established. The company’s latest initiative, DISCOVERY recently created a platform for 12 writers to have their show’s produced for stage readings in London, Leicester and Birmingham. Kali’s Artistic Director, Helena Bell reflects on the initiative’s impact on the writers taking part and audiences responding to the works.

The Believers are But Brothers returns to London after a runat The Bush Theatre in 2018 and a Scotsman Edinburgh Fringe first winning appearance at Summerhall in 2017.Written and performed by Javaad Alipoor and co-directed by Kirsty Housley, Believers is a formally ambitious 70 minutes of technological theatre that attempts to spin a complex, multi stranded tale about three men’s contact with online extremism.

We all know that our forefathers and their forefathers before have been in a constant game of revenge since the first two men on earth took vengeance on each other to defend their own beliefs. Fathers at war with themselves and others is what has driven countries and communities apart for far too long.

Courtesy of Helen Murray.

Now in its 4th year, the Network of Independent Critics continues its mission of championing the works of independent publications. Offering access to the world’s most popular arts festival, Edinburgh Festival Fringe, bloggers, vloggers, journalists, critics and reporters are afforded the opportunity of being located in the very heart of this exciting world renowned festival, whilst covering a particular art form of their choice and having a means to focus on their craft without distraction. As the name suggests, individuals will also be joined by a network of fellow critics, encouraging an environment of discussion, supportiveness as well as a shared appreciation for the arts. Ahead of this year’s festival, co-founders of the initiative Laura Kressly (Founder of theatre blog The Play’s The Thing) and Katharine Kavanagh (Founder of blog The Circus Diaries) talk about how they were inspired to create Network of Independent Critics, how the initiative has supported critics taking part and independent critics Jo Trainor and Daniel Perks taking over this year’s cohort.

Caryl Churchill’s innovative Top Girls has been held in high regard ever since it’s Royal Court premier in 1982. Most notable for its pioneering use of non-linear narrative, its feminist skewering of Thatcherite individualism and an anachronistic opening featuring a dinner between central character Marlene (Katherine Kingsley) and a roll call of notable women from down the ages.

Courtesy of Johan Persson.