Snow queens and singing tigers: children's theatre at the Edinburgh Festival

There's plenty adults will enjoy, too.

Comedian David Mills jokingly sums up the Festival cliché: “I see the children out there, and they're so thrilled to be sat in a sweaty basement with a bunch of burnt out hippies producing Puss in Boots in sign language.”

But while the Fringe may have a reputation for drunken, off-the wall shows, and there are plenty of Naked Hitler: The Musicals and The Improvised Vagina Monologues out there, there are many shows for families with children to enjoy as well.

Here are a pick of some of the best; shows that you can bring your children to without dreading a saccharine Tellytubby experience. These are kids' shows that parents will love.

Aireborne Theatre's The Snow Queen is a retelling of Hans Christian Andersen's fairy tale that brims with charm. The audience joins a troupe of travelling storytellers in their camp, and the talented ensemble cast bring the tale to life using the brooms, pots, pans and hanging washing the travellers have to hand. The performances are perfectly-judged and beautifully choreographed; children from the very young to the almost-adolescent are held spellbound, shouting out only to warn the heroine of danger, or join in with the original musical accompaniment.

Swamp Juice is probably the most visually impressive show on this list. Shadow-puppeteer Jeff Achtem controls the puppets and visuals – all built out of reclaimed materials – and all the sound effects himself. The story is simple, but the graphical devices get more and more complex and interactive all the way through, building to a jaw-dropping three-dimensional climax.

Serious theatre geeks will get an enormous amount out of Dr Brown Brown Brown Brown Brown And His Singing Tiger. Absurdist visual comedian Phil Burgers is a clowning instructor who learned his craft with the infamous Philippe Gaulier, himself one of Jacques Lecoq's most famous pupils. A master of physical comedy for both adults and children, his every move, or rather, that of his stage alter ego Dr Brown, is a consummate pleasure to watch. Nobody can hold an audience in the palm of their hand like him, and this show is no exception.

Fringe veterans Belt Up Theatre specialise in atmospheric audience participation. Their current oeuvre boasts three shows inspired by the life and works of three famous children's authors: JM Barrie, Lewis Carroll and their newest, A Little Princess, is based on the book by Frances Hodgson Burnett. These guys love engaging with their audience, and have created the site-specific experience of a drawing room in a buttoned-up English boarding school. They recruit their audience to their ranks to experience and participate in the story of the seven-year-old girl who is dragged to it, rather than merely bear witness to it on stage.

The Magician's Daughter by Little Angel theatre has impeccable theatrical pedigree. It is based on The Tempest, written by former Children's Laureate Michael Rosen and backed by the Royal Shakespeare Company. Like much of this list, it is a mixed-media melange of puppetry, music and storytelling, following Miranda's daughter as she explores her island home. Rosen, as ever, has the people's touch; and his blend of comedy and knowing nods to the Shakespeare is delightful.

Beginning with a true story of schoolboy with leukaemia whose parents create a fantastical imaginary world for him to inhabit, Firehouse Creative Productions worked with the Whittington children's hospital in North London to investigate how the imagination can be a supremely powerful tool to overcome illness and adversity. The end result, Superjohn is riotous fun for kids, but also deeply, deeply moving for adults.

Children watch a street performer at the Edinburgh Festival in 2006. Photo: Getty Images

Nicky Woolf is reporting for the New Statesman from the US. He tweets @NickyWoolf.

Show Hide image

Indie band The 1975 want to “sue the government” over the Electoral Commission’s latest advert

Frontman Matt Healy perhaps isn’t aware that the Electoral Commission is not, in fact, the government (or believes that this is part of a wider conspiracy).

How do you make registering to vote in the EU Referendum cool? It sounds like something  from The Thick of It, but judging by the Electoral Commission’s latest TV ad for their new voting guide, this was a genuine question posed in their meetings this month. The finished product seems inspired by teen Tumblrs with its killer combination of secluded woodlands, vintage laundrettes and bright pink neon lighting.

But indie-pop band The 1975 saw a different inspiration for the advert: the campaign for their latest album, I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It (Yes, a title perhaps even more cumbersome than “The EU Referendum - You Can’t Miss It (Phase One)”).

Lead singer Matt Healy posted a picture of the guide with the caption “LOOK OUT KIDZ THE GOVERNMENT ARE STEALING OUR THOUGHTS!!” back on 17 May. The release of the TV spot only furthered Healy’s suspicions:

Healy perhaps isn’t aware that the Electoral Commission is not, in fact, the government (or believes that this is part of a wider conspiracy).

The 1975’s manager, Jamie Oborne, was similarly outraged.

Oborne added that he was particularly “disappointed” that the director for the band’s video for their song “Settle Down”, Nadia Marquard Otzen, also directed the Electoral Commission’s ad. But Otzen also directed the Electoral Commission’s visually similar Scottish Referendum campaign video, released back in September 2014: almost a year before The 1975 released the first promotional image for their album on Instagram on 2 June 2015.

Many were quick to point out that the band “didn’t invent neon lights”. The band know this. Their visual identity draws on an array of artists working with neon: Dan Flavin’s florescent lights, James Turrell’s “Raemar pink white”, Nathan Coley’s esoteric, and oddly-placed, Turner-shortlisted work, Bruce Nauman’s aphoristic signs, Chris Bracey’s neon pink colour palette, to just name a few – never mind the thousands of Tumblrs that undoubtedly inspired Healy’s aesthetics (their neon signs were exhibited at a show called Tumblr IRL). I see no reason why Otzen might not be similarly influenced by this artistic tradition.

Of course, The 1975 may be right: they have helped to popularise this particular vibe, moving it out of aesthetic corners of the internet and onto leaflets dropped through every letterbox in the country. But if mainstream organisations weren’t making vaguely cringeworthy attempts to jump on board a particular moment, how would we know it was cool at all?

Anna Leszkiewicz is a pop culture writer at the New Statesman.