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 a writer for the Guardian based in the US. He tweets @NickyWoolf.

Leon Neal/ Getty
Show Hide image

“Brexit is based on racism”: Who is protesting outside the Supreme Court and what are they fighting for?

Movement for Justice is challenging the racist potential of Brexit, as the government appeals the High Court's Article 50 decision.

Protestors from the campaign group Movement for Justice are demonstrating outside the Supreme Court for the second day running. They are against the government triggering Article 50 without asking MPs, and are protesting against the Brexit vote in general. They plan to remain outside the Supreme Court for the duration of the case, as the government appeals the recent High Court ruling in favour of Parliament.

Their banners call to "STOP the scapgoating of immigrants", to "Build the movement against austerity & FOR equality", and to "Stop Brexit Fight Racism".

The group led Saturday’s march at Yarl’s Wood Immigration Detention Centre, where a crowd of over 2,000 people stood against the government’s immigration policy, and the management of the centre, which has long been under fire for claims of abuse against detainees.  

Movement for Justice, and its 50 campaigners, were in the company yesterday of people from all walks of pro and anti-Brexit life, including the hangers-on from former Ukip leader Nigel Farage’s postponed march on the Supreme Court.

Antonia Bright, one of the campaign’s lead figures, says: “It is in the interests of our fight for freedom of movement that the Supreme Court blocks May’s attempt to rush through an anti-immigrant deal.”

This sentiment is echoed by campaigners on both sides of the referendum, many of whom believe that Parliament should be involved.

Alongside refuting the royal prerogative, the group criticises the Brexit vote in general. Bright says:

“The bottom line is that Brexit represents an anti-immigrant movement. It is based on racism, so regardless of how people intended their vote, it will still be a decision that is an attack on immigration.”

A crucial concern for the group is that the terms of the agreement will set a precedent for anti-immigrant policies that will heighten aggression against ethnic communities.

This concern isn’t entirely unfounded. The National Police Chief’s Council recorded a 58 per cent spike in hate crimes in the week following the referendum. Over the course of the month, this averaged as a 41 per cent increase, compared with the same time the following year.

The subtext of Bright's statement is not only a dissatisfaction with the result of the EU referendum, but the process of the vote itself. It voices a concern heard many times since the vote that a referendum is far too simple a process for a desicion of such momentous consequences. She also draws on the gaping hole between people's voting intentions and the policy that is implemented.

This is particularly troubling when the competitive nature of multilateral bargaining allows the government to keep its cards close to its chest on critical issues such as freedom of movement and trade agreements. Bright insists that this, “is not a democratic process at all”.

“We want to positively say that there does need to be scrutiny and transparency, and an opening up of this question, not just a rushing through on the royal prerogative,” she adds. “There needs to be transparency in everything that is being negotiated and discussed in the public realm.”

For campaigners, the use of royal prerogative is a sinister symbol of the government deciding whatever it likes, without consulting Parliament or voters, during the future Brexit negotiations. A ruling in the Supreme Court in favour of a parliamentary vote would present a small but important reassurance against these fears.