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.

Photo: Getty
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Jeremy Corbyn's opponents are going down a blind alley on tuition fees

The electoral pool they are fishing in is shallow – perhaps even non-existent. 

The press and Labour’s political opponents are hammering Jeremy Corbyn over his party's pledge/ambition/cruel lie to win an election (delete depending on your preference) to not only abolish tuition fees for new students, but to write off the existing debts of those who have already graduated.

Labour has conceded (or restated, again, depending on your preference) that this is merely an “ambition” – that the party had not pledged to wipe out existing tuition fee debt but merely to scrap fees.

The party’s manifesto and the accompanying costings document only included a commitment to scrap the fees of students already in the system. What the Conservatives and Liberal Democrats are claiming as a pledge is the following remark, made by Jeremy Corbyn in his Q&A with NME readers:

“First of all, we want to get rid of student fees altogether. We’ll do it as soon as we get in, and we’ll then introduce legislation to ensure that any student going from the 2017-18 academic year will not pay fees. They will pay them, but we’ll rebate them when we’ve got the legislation through – that’s fundamentally the principle behind it. Yes, there is a block of those that currently have a massive debt, and I’m looking at ways that we could reduce that, ameliorate that, lengthen the period of paying it off, or some other means of reducing that debt burden. I don’t have the simple answer for it at this stage – I don’t think anybody would expect me to, because this election was called unexpectedly; we had two weeks to prepare all of this – but I’m very well aware of that problem. And I don’t see why those that had the historical misfortune to be at university during the £9,000 period should be burdened excessively compared to those that went before or those that come after. I will deal with it.”

Is this a promise, an aspiration or a target? The answer probably depends on how you feel about Jeremy Corbyn or fees policy in general. (My reading, for what it’s worth, is that the full quote looks much more like an objective than a promise to my eyes but that the alternative explanation is fair enough, too.)

The more interesting question is whether or not there is an electoral prize to be had, whether from the Conservatives or the Liberal Democrats, for hammering Labour on this topic. On that one the answer is open and shut: there really isn’t one.

Why not? Because the evidence is clear: that pledging to abolish tuition fees largely moves two groups of voters: students who have yet to graduate and actually start paying back the fees, and their parents and grandparents, who are worried about the debt burden.

There is not a large caucus of fee-paying graduates – that is, people who have graduated and are earning enough to start paying back their tuition fees – who are opposed to the system. (We don’t have enough evidence but my expectation is that the parents of people who have already graduated are also less fussed. They can see that their children are not crippled by tuition fee debt, which forms a negligible part of a graduate’s tax and living expenses, as opposed to parents who are expecting a worrying future for their children who have yet to graduate.)

Put simply, there isn’t a large group of people aged 21 or above voting for Corbyn who are that concerned about a debt write-off. Of those that are, they tend to have an ideological stance on the value of a higher education system paid for out of general taxation – a stance that makes it much harder for the Conservatives or the Liberal Democrats to peel those votes off.

The whole thing is a bit of a blind alley for the parties of the centre and right. The Tory difficulty at this election wasn’t that they did badly among 18-21s, though they did do exceptionally badly. With the exception of the wave year of 1983, they have always tended to do badly with this group. Their problem is that they are doing badly with 30-45s, usually the time in life that some younger Labour voters begin to vote Conservative, largely but not exclusively because they have tended to get on the property ladder.

Nowadays of course, that cohort, particularly in the south of England, is not getting on the property ladder and as a result is not turning blue as it ages. And that’s both a bigger worry and a more lucrative electoral target for Labour’s opponents than litigating an NME interview.

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to domestic and global politics.