
The real reason two Jewish comedians had their Edinburgh shows canned
The reason? 'Safety concerns' for staff. Those of us with the Jewish mothers of Creeger's title can certainly understand why others might have concerns over our mental safety, but I don't think that's quite what the venues had in mind when they banned a Jewish son and a Jewish daughter.
You don't have to be a comedian or an expert in decoding sophistry to understand what's going on here. You just have to have a basic knowledge of history, because it's what has been going on for millennia. Jews have been banned for being Jews. Here we go again. They can dress it up in any drivel about health and safety they want, but when you translate 'concerns over staff safety' into reality it means, 'Jews are banned unless they manage to sneak in because no one has realised they are Jews'.
The excuses used by the venues to justify the bans gave the game away. Creeger was told it was because of a supposed 'vigil for IDF (Israel Defense Forces) soldiers'. The only problem with that is that there was no such vigil in either of their shows. As Creeger – an Orthodox Jew, who is open about that in her act – said at the weekend: 'They initially said that they believed we'd held a vigil for an IDF soldier, a fallen soldier, which is a thing that just hadn't ever happened in either of our shows. The shows are not political, we're not political performers and the IDF is not a relevant subject in either show. They later withdrew that and said they understood that that didn't actually happen.'
Simon added that the venue had trawled his social media and then told him that his 'views concerning the ongoing humanitarian crisis in Palestine…are in significant conflict with our venue's stance against the current Israeli government's policy and actions.' But just as the objection to Creeger was spurious, so with Simon: 'I have never expressed support for anything other than freeing the hostages and finding a way for peace…I've never posted about the Israeli government. I've posted about the situation because we're all horrified about what's going on in the Middle East but there's been nothing positive that I put out really about the Israeli government.'
It could hardly be more blatant: two Jews have been cancelled because they are Jewish. The rest is noise. The fact that neither Creeger nor Simon have expressed anything other than a desire for peace and freedom for the hostages is irrelevant, because one of the strongest lessons of Jewish history is that they come for the 'good' Jews too. It doesn't matter if you think you're behaving as they want you to behave: in their eyes, all that matters is that you're a Jew.
Politicians are wont to repeat the phrase, 'There is no place for antisemitism in [add the name of a city or country]'. In reality, however, in Britain in 2025 there is every place for antisemitism. Always and everywhere.
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Telegraph
an hour ago
- Telegraph
Edinburgh comedy reviews: The best shows at the 2025 Fringe
Recommendations and the latest reviews from the Telegraph critics on the ground at Edinburgh International Festival and Edinburgh Fringe. This article will be updated on a rolling basis throughout the festival. Our picks: Famous faces Performing at the Fringe is a rite of passage for young artists. There's not much in it for established stars – so when they do choose to appear, it's often as a way of giving something back to the festival that made them famous. (Although in the case of some of this year's unexpected Fringe comebacks – I'm looking at you, Bobby Davro – it's hard not to think of the old music-hall joke: They say you play this place twice in your life. Once on the way up… Well, it's nice to be back!) Rosie O'Donnell: Common Knowledge ★★★★☆ 'I couldn't tell you my story without my tragic Irish beginning,' drawls Rosie O'Donnell, as she recalls losing her mother on St Patrick's Day in 1973 when she was 10. The mood is sober, but then O'Donnell pops a confetti cannon to reassure us that this is, after all, a comedy show. In her Edinburgh debut, the 63-year-old New York comedian and talk-show host shares a raw yet richly witty account of her life – including the ongoing feud with President Trump that led her to flee the US and move to Dublin with her adopted child after his re-election. The pair's war of words escalated last month when Trump threatened to revoke her US citizenship and described her as a 'threat to humanity'. O'Donnell retorted by calling him 'King Joffrey with a tangerine spray tan.' In this show, O'Donnell addresses their fractious relationship by showing off her anti-Trump art, depicting a red-faced. 'The orange menace had been in for four years. I was depressed,' she explains. She's made over 700 pieces in total. A multi-Emmy and Tony Award winner, O'Donnell is, unsurprisingly, a masterful storyteller. Though the show is supposedly autobiographical, with a chunk dedicated to her relocation to Ireland, it gradually becomes as much a tribute to her child, Clay, whom she adopted when she was 50. Diagnosed with autism and hyperlexia (a condition which means their reading ability is far beyond their years), Clay regularly corrects O'Donnell on facts they consider to be 'common knowledge'. 'I had to stop watching Jeopardy! with when she was six,' O'Donnell quips. A few references fall flat for a largely British audience; a visual gag involving an American news anchor is lost on most, and some cultural touchpoints don't quite land. But these are minor stumbles in an otherwise beautifully constructed show. Common Knowledge is tender, wise, and at times heart-wrenching. A warm hour that lingers long in the memory after the final laugh. LP Gilded Balloon at Appleton Tower, Aug 10, 8.45pm Alan Davies: Think Ahead ★★★★☆ Returning to stand-up for the first time in a decade, Alan Davies – star of Jonathan Creek and long-serving QI panellist – ventures into edgier, darker territory than those familiar with his affable screen persona will expect. Having lifted the lid on the childhood sexual abuse he suffered at the hands of his late father in his acclaimed 2020 memoir Just Ignore Him, Davies is now finally, bravely, broaching the subject on stage. A barrel-load of laughs? At points, no. But he's raising a sensitive, under-discussed issue that demands attention and makes you admire more fully his ongoing achievement in seeing the funny side of life after what was plainly a lasting trauma. DC Gilded Balloon at Appleton Tower, until Aug 10, 7.15pm Bill Bailey: Thoughtifier The bearded wonder (and former Strictly champion) returns with more ingenious musical comedy and whimsical flights of fancy. Nobody makes intelligent nonsense look quite so effortless. Edinburgh Playhouse (Auditorium), Aug 23-24, 3pm/8pm Smack the Pony Fiona Allen, Doon Mackichan and Sally Phillips – the creators of Channel 4's classic all-female sketch show – reunite after more than 20 years apart for this chummy in-conversation event hosted by Kirsty Wark. Gilded Balloon at the Museum (Auditorium), Aug 17-20, 2.45pm Margolyes and Dickens: More Best Bits After trotting through Dickens's best-loved characters in an acclaimed 2024 Fringe show, the mischievous, potty-mouthed character actress returns for an encore. Pleasance at EICC (Pentland Theatre), Aug 9-24 (not Aug 18, 21), 6pm Our pick: Comedy stars of tomorrow Already well-known among committed comedy fans, each of these acts is on the cusp of breaking through to the mainstream. This year might be your last chance to catch them in an intimate venue, so don't miss it. Lou Wall: Breaking the Fifth Wall ★★★★★ Off the back of several highly-rated shows, Lou Wall returns to Edinburgh with a manic, musical, PowerPoint-aided hour that questions how much truth a comedian owes their audience. It is a meta-commentary on the nature of stand-up storytelling, and a tightly engineered show that repeatedly pulls the rug from under you… deliberately, and delightfully. It opens with the Australian comedian's now-viral 'Facebook Marketplace' bit, a musical routine about trying to sell a bed frame for free online and the resulting ridiculous interactions with an illogical customer. Wall recounts the story beat by beat, rhymes landing in sync with perfectly timed visuals, before addressing the question raised by countless commenters: did this really happen? Where the line lies between fact and fiction forms the backbone of Breaking the Fifth Wall. It feels like a pertinent time to tackle this topic with the recent controversies around Richard Gadd's Baby Reindeer and Raynor Winn's The Salt Path, both of which have come under scrutiny for how 'real' they really are. Wall dives straight into the debate. But rather than retreat into earnestness, this show goes the other way: embracing artifice, subversion, and sleight of hand. Over the hour, Wall fuses anecdotes, musical numbers, and gloriously silly audience participation, including a crowd-pleasing round of 'Stand-up Comedian or Serial Killer?', with an exhausting number of technical cues (well over 300). The result is a tightly orchestrated onslaught that never drags. This is the kind of all-singing, all-poetry-slamming gem that the Fringe is made for. LP Multiple venues, until Aug 24, 10pm Thor Stenhaug: One Night Stand Baby ★★★★☆ A fast-rising name on the circuit, Norwegian comedian Thor Stenhaug is making his Edinburgh Fringe debut in an intimate 56-capacity Pleasance bunker. 'In Norway, this would be classed an arena show,' he quips. It might be a bit early to tip him for a best newcomer nomination but Stenhaug's material is razor-sharp; he could very well be destined for real arenas in the future. One Night Stand Baby, as the name suggests, is about growing up as the product of a one-night stand, with parents who are not together… as well as the high expectations placed upon you when you're named after a Nordic God. Stenhaug's observational storytelling is effortlessly compelling. He speaks with relatable ease about the class-based imposter syndrome of dating someone posher than you, the jarring similarities in standards of living between a flat share in London and what he imagines Scandi jail to be, and the quiet, cringing angst of being a late bloomer. It's funny material with a warm, heartfelt undercurrent: the show reads as a subtle love letter to his parents for the stable, warm home they provided despite its complexities. The hour zips by with confident pacing, confirming Stenhaug as a comedian with serious potential. You can easily picture him holding court on a panel show, quick-witted, personable, and armed with a point of view. As a final gimmick (it's the Fringe, so it's allowed), Stenhaug hands out condoms with his face on at the exit to remind the crowd to be safe, or face the consequences. LP Pleasance Courtyard, Bunker One, until Aug 13, 8.40pm Ahir Shah: Work in Progress Shah has one of the sharpest minds in stand-up; even his half-written shows are better than most other people's finished work. The last time he brought a work-in-progress show to the Fringe, in 2023, it won the Edinburgh Comedy Award. Monkey Barrel Comedy (Monkey Barrel 3), Aug 14-24, 12pm Gianmarco Soresi: The Drama King Tour An Edinburgh debut for one of the most buzzed-about names in American stand-up, whose snappy crowd-work has won him a large following online – and ensured that his Fringe run sold out long in advance. Keep your fingers crossed for last-minute returns. Monkey Barrel Comedy (Monkey Barrel 3), Aug 18-24, 2.50pm Jacqueline Novak Ninety minutes of exquisitely written gags about sex, Novak's Netflix special Get on Your Knees ingeniously balanced low-brow filth with high-brow literary flourishes. Hopes are high for this New Yorker's follow-up hour of stand-up. Monkey Barrel Comedy (Monkey Barrel 4), July 30-Aug 23 (not Aug 12,19), 5pm Lorna Rose Treen: 24 Hour Diner People Treen is fun on the radio (as creator/star of Woman's Hour spoof Time of the Week) but far better on stage; her previous Fringe show was a masterclass in sketch comedy, with shades of French and Saunders. Pleasance Courtyard (Beneath), July 30-Aug 24 (not Aug 12), 6.20pm Jazz Emu: The Pleasure Is All Yours The funniest musical comedy act in the country, preening pop star Jazz Emu is the wonderfully odd alter-ego of character comic Archie Henderson. He returns with more of his smoother-than-smooth funk-pop. Pleasance Dome (Queen Dome), July 30-Aug 24 (not Aug 12), 9.50pm Our picks: Guaranteed Gold Our picks: Guaranteed Gold A number of shows The Telegraph has recommended in the past are returning to this year's Fringe for a victory lap. I've seen each of these myself, and would pay to watch any of them again in a heartbeat. How to Win Against History This exceedingly witty little musical biography of Henry Cyril Paget, the eccentric Marquess of Anglesey, makes a welcome return to the Fringe, where it was a word-of-mouth hit nine years ago. Underbelly George Square (Udderbelly), July 30-Aug 24 (not Aug 4, 11, 18), 7.15pm Julia Masli: ha ha ha ha ha ha ha Trained at École Philippe Gaulier (the fearsome French clown school where Sacha Baron Cohen learnt his tricks), Julia Masli is a mercurial comic talent. In this brilliant, semi-improvised show she tries her best to solve the problems of every person in the room, one at a time. It's a magical experience – although perhaps not for people who are terrified of audience interaction. Pleasance Dome (Queen Dome), Aug 11-24, 11.15pm Trygve Wakenshaw and Barnie Duncan: Different Party The drudgery of office work is given a surreal spin in this inventive hour of physical comedy from two of New Zealand's top alternative comedians. At the 2017 Fringe, it had me doubled-over with laughter. The pair are also staging a new show, Hot Chips, which they describe as 'verbose mime'. Assembly George Square Studios (Studio Two), July 30-Aug 17, (not Aug 6, 11), 5.10pm Elf Lyons: The Bird Trilogy The mercurial comic – whose work ranges from stand-up to clowning – revives three shows: her breakthrough ballet spoof Swan, her cabaret-lecture on economics Chiffchaff; and Raven, a Stephen King tribute which earned her five stars from The Telegraph. Pleasance Dome (King Dome), Aug 12-25, 8pm


Scotsman
an hour ago
- Scotsman
Chef Modou Diagne to bring experimental dining to the Edinburgh Fringe
This August, one of Scotland's most exciting culinary talents is bringing an unmissable dining experience to the heart of the Edinburgh Fringe Festival. Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Acclaimed chef Modou Diagne will bring his TRUST dining concept to Scotland's capital as a limited-run pop-up restaurant from August 7th - 24th only, offering a bold, immersive tasting menu that redefines food boundaries. There is no set menu. Instead, diners will be treated to a dynamic, ever-changing tasting experience shaped entirely by Modou and his team, celebrating seasonality, bold flavours, and the power of storytelling through food. Helmed by Senegalese-born Chef Modou Diagne, the visionary behind Glasgow's much-loved 111 by Modou and newly opened Trust by Modou, the pop-up Edinburgh restaurant invites guests to surrender control and embrace the unexpected. With no menu and no choices, diners are asked to place their full trust in the chef – and in return, receive an ever-changing, multi-course journey through Modou's creativity, culture, and passion. Advertisement Hide Ad Advertisement Hide Ad Trust by Modou at the Edinburgh Fringe will be located at Somewhere by Nico in the city's West End will seat a limited number of guests each evening, creating an intimate and theatrical food experience that echoes the spirit of the Fringe itself – spontaneous, surprising, and deeply personal. The 5 course tasting experience will be available from 7th August for £30pp Chef Modou Diagne said; 'TRUST is about letting go – of expectations, of assumptions – and allowing yourself to be surprised. It's storytelling through food, and there's no better time or place to do that than during the Edinburgh Fringe Festival". With only three weeks to experience this one-of-a-kind culinary event, reservations are highly recommended. The 5 course menu is priced at £30pp with curated drinks pairings priced at £ TRUST team will be offering evening seatings, Wednesday to Sunday only from August 7th - August 24th 2025. Trust by Modou: Pop-Up will be located at 39a Charlotte Ln, Edinburgh EH2 4RA inside Somewhere by Nico Edinburgh.


The Guardian
an hour ago
- The Guardian
UK's Royal Ballet and Opera withdraws Tosca production in Tel Aviv
The Royal Ballet and Opera has pulled its 2026 production run of Tosca at the Israeli Opera in Tel Aviv. The internal announcement by the RBO chief executive, Alex Beard, was made after almost 200 Royal Opera and Ballet members signed an open letter criticising the organisation's stance on Gaza. Beard acknowledged the 'open letter that has been circulating internally' and told staff: 'We have made the decision that our new production of Tosca will not be going to Israel.' The Israeli Opera website has dropped reference to the Royal Opera House. The letter sent to Beard and the RBO board on Friday was signed by 182 RBO members including dancers, singers, musicians and staff across artistic, creative, technical and administrative departments. It is understood that 40 signatories signed with their names while the others signed anonymously because of fear of reprisals. The members said they were deeply concerned about 'recent actions and decisions taken by the RBO in the context of the ongoing genocide in Gaza'. In particular, the signatories highlighted the RBO's recent hiring out of its production of Turandot to the Israeli Opera. 'The decision cannot be viewed as neutral,' they said. 'It is a deliberate alignment, materially and symbolically, with a government currently engaged in crimes against humanity. 'The venue itself, the Israeli Opera, publicly offers free tickets to soldiers of the Israeli Defense Forces 'in recognition of their work', as stated on their website. The RBO is clearly making a strong political statement by allowing its production and intellectual property to be presented in a space that openly rewards and legitimises the very forces responsible for the daily killings of civilians in Gaza.' They said they rejected 'any current or future performances in Israel' and demanded the organisation 'withholds our productions from institutions that legitimise and economically support a state engaged in the mass killing of civilians'. Production hires mean sets, props and costumes are rented out to another opera house. Preparations for Turandot were taking place when the Israel-Iran war broke out, and rehearsals were held in bomb shelters. The Guardian understands at least one performer decided to leave the production and sought therapy because of this. The signatories also expressed solidarity with Daniel Perry, the performer who raised the Palestinian flag in 'an act of courage and moral clarity on our very stage' on 19 July. They condemned what they called 'extremely poor judgment' by RBO's director of opera, Oliver Mears, who 'we witnessed attempting to forcibly snatch the flag from the performer, displaying visible anger and aggression in front of the entire audience'. Perry later said Mears told him he would 'never work for the Opera House ever again'. The signatories called for Mears 'to be held accountable for his public display of aggression' and said the act, 'far from being a neutral administrative intervention, was itself a loud political statement. It sent a clear message that any visible solidarity with Palestine would be met with hostility.' The letter highlighted the role the arts had historically played during times of crisis, and cited the RBO's swiftness to stand in solidarity with Ukraine after Russia's invasion. It said: 'We organised Concerts for Ukraine, we played the Ukrainian national anthem before performances, and we publicly displayed the Ukrainian flag as a gesture of solidarity with its people. We understood then that silence was unacceptable. Why is it different now? … The double standard is deafening.' Organisers of the letter said years spent working to change public perceptions of the RBO to make it more inclusive and accessible were 'threatened by recent choices'. The RBO confirmed to the Guardian that Tosca would not go to the Israeli Opera. Beard said: 'I am appalled by the crisis in Gaza and recognise the deep emotional impact this has had across our community and wider society. On this issue, we acknowledge and respect the full range of views held by our staff, artists and audiences. 'The events at the curtain call on 19 July were without precedent. We have reflected carefully and reviewed our internal protocols. We always endeavour to act with integrity and compassion. We want our stage to remain a space for shared cultural appreciation, free from individual political statements. 'Our support for Ukraine was aligned with the global consensus at the time. As the world's geopolitics have become more complex, our stance has changed to ensure that our actions reflect our purpose and values.'