Jew...ish Edinburgh Fringe Review



Jew…ish is Fringe as it’s meant to be. Not polished to death, not bland, safe or inoffensive, but clean in execution, fucking fun and a genuinely good piece of theatre. So many things can go wrong with a small production like Jew…ish, but the script is baby-butt tight and the performers are phenomenal. By far the best independent piece I saw at the Fringe this year. It seems to be selling out regularly as well, so you might have to take a trip to London if you miss it in Scotland.

Detailed review and media below.



This piece needed a strong vision to succeed, and it did under Kennedy Bloomer. The narrative arc mostly works, and there are real moments where the show earns a breath and takes it to great effect. Some choices elevate the script even further - there’s a gag with a remote-controlled car that was a stroke of genius.



The performers make this piece what it is. Edie Newman (TJ) puts a real human onstage - there’s a wholeness to her character that makes her tragic moments just as powerful as her spiteful, jaded humor. I’d love to see the prep work that went into this performance - this actor is phenomenal. Saul Boyer (Max) is a great, clowny counterpart to Edie’s TJ, tempering her hard edge with polished buffoonery. It’s obvious that Boyer is a comedic powerhouse. I found myself wishing that the director dialed the actor’s actual talent back to allow the character more flaws than the actor has - since Max is an aspiring standup comic, Boyer almost does too good a job of entertaining the audience. Some of the moments where the comedy comes from Max’s awkwardness don’t read, because Boyer is actually really fucking funny.



Written by Poppy Damon and costar Saul Boyer, the script is much more clever than any Fringe script has a right to be. It’s not funny in a watered-down, tasteless sitcom way either - TJ and Max almost always read like real human beings with real human responses to real human events. There are occasionally hard shifts in the dialogue that could probably be softened to something more naturalistic, but the cast executes everything so confidently that it’s barely noticeable.