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.

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Is anyone prepared to solve the NHS funding crisis?

As long as the political taboo on raising taxes endures, the service will be in financial peril. 

It has long been clear that the NHS is in financial ill-health. But today's figures, conveniently delayed until after the Conservative conference, are still stunningly bad. The service ran a deficit of £930m between April and June (greater than the £820m recorded for the whole of the 2014/15 financial year) and is on course for a shortfall of at least £2bn this year - its worst position for a generation. 

Though often described as having been shielded from austerity, owing to its ring-fenced budget, the NHS is enduring the toughest spending settlement in its history. Since 1950, health spending has grown at an average annual rate of 4 per cent, but over the last parliament it rose by just 0.5 per cent. An ageing population, rising treatment costs and the social care crisis all mean that the NHS has to run merely to stand still. The Tories have pledged to provide £10bn more for the service but this still leaves £20bn of efficiency savings required. 

Speculation is now turning to whether George Osborne will provide an emergency injection of funds in the Autumn Statement on 25 November. But the long-term question is whether anyone is prepared to offer a sustainable solution to the crisis. Health experts argue that only a rise in general taxation (income tax, VAT, national insurance), patient charges or a hypothecated "health tax" will secure the future of a universal, high-quality service. But the political taboo against increasing taxes on all but the richest means no politician has ventured into this territory. Shadow health secretary Heidi Alexander has today called for the government to "find money urgently to get through the coming winter months". But the bigger question is whether, under Jeremy Corbyn, Labour is prepared to go beyond sticking-plaster solutions. 

George Eaton is political editor of the New Statesman.