AN INSTINCT

Old Red Lion Theatre

★★★½

“a brave piece of theatre”

An Instinct is an inside look into coercive control, manipulation and makes you question everything. Littered with moments of shock, suspense and humour this play really takes you on a journey to an alternate experience of our once lived lockdown days.

Written by Hugo Timbrell, we are transported back to the beginning of COVID, to a cabin in the middle of the woods where we find ex lovers Max (Conor Dumbrell) and Charlie (Ben Norris) who have reunited to face isolation together.

Dumbrell and Norris are great at setting the tone and mood immediately. We see two people figuring out a situation together, but as we are drip fed information, we start to question everything presented to us. As we watch our main characters battle with trust, loyalty and the lack of both, we as an audience also ask the same questions and battle with the reality being played out. By the time our third player, Tom (Joe Walsham) enters the scene – there is a strong desire for the truth amongst the characters and audience alike.

Timbrell has created a brave piece of theatre here. There is a real understanding for how manipulation, gaslighting and passive aggressiveness play out without being biased. You are shown all sides of a story and are left to make your own judgements. He makes large, bold choices in the dynamics of the plot, with light comedy appearing throughout. The writing is very clever, clear and consistent – keeping you hooked in the twists and turns.

An Instinct is a thriller which can sometimes be a tricky genre, especially with the pressure of being able to lure your audience into anticipation ready to be thrilled. There are a couple of jump scare moments that can catch any audience member unaware, and we are pulled into a very unstable environment that is rife with mistrust. However there are also moments where the play runs the risk of being awkward.

The actors do well to sustain character and drive the plot through its highs and lows, but it’s a hard job to keep the suspense of a thriller, especially in theatre without the glitz and glamour of TV and film tricks. This pressure was almost too much for our actors at times. This didn’t take too much away from the play, and didn’t leave a bad taste, in fact it was a fun experience and audiences can take something away from it.

Director Lucy Foster delivered superbly. The transitions, the use of space and blocking of the actors are flawless and really lets us into their world by reinforcing that fourth wall and giving us a real “fly on a wall” experience. The sound (Julian Starr) and lighting (Caelan Oram) really supports the realism of the whole production and all the tricks and effects are used perfectly. Well worth seeing.

AN INSTINCT

Old Red Lion Theatre

Reviewed on 19th November 2025

by Paige Wilson-Lawrence

Photography by Craig Fuller

Previously reviewed at this venue:

CURATING | ★★ | November 2025

DEATH BELLES | ★★★½ | October 2025

FRAT | ★★ | May 2025

EDGING | ★★★ | September 2023

THIS IS NORMAL | ★★★★ | September 2023

AN INSTINCT

★★★★★

“a masterclass in creativity and playfulness”

Crying Shame is a masterpiece of heartfelt and fun-filled cabaret, made perfectly for all of Edinburgh’s lonely hearts. Exploring what it means to be lonely, how to cure it, and how to identify it, this show leaves no theatrical stone unturned as it dismantles itself (and us) before our very eyes.

Excited (and self-admittedly pathetic) clowns join the audience in the queue before beckoning us into the theatre space at Pleasance Dome; dressed beautifully in bright stage curtains and lit magically (set design Shahaf Beer, lighting John Chan). The sparkle and crookedness of the costuming is sublime and immediately sets the tone for the performers to indulge in their eccentricity and self-pity. The spill of unpolished makeup and odd angular costumes (also Shahaf Beer) add a certain je ne sais quoi to the brilliance of the piece.

The verbatim and lip-syncing are utterly breath-taking and intricately choreographed, as are the stylised and disjointed dancing interludes. Hilarious and beautiful, the voices of audience members, celebrities, and the public have their piece on the matter of feeling not worth it. Crying Shame is a masterclass in creativity and playfulness. It doesn’t shy from blending the silly and the touching into one big brilliant messy extravaganza. Crying Shame is unafraid to get up, close, and personal. Emphasis on the close. The production and delivery are faultless, and the detail of the show’s message and vision shine. Who knew sock puppets with googly eyes could be so moving?

Through an hour of high-paced and high-octane cabaret, songs, tap-dance, mime, and dance are used to empower the audience to love themselves and tackle their own (and each other’s loneliness) head on. In increasingly creative ways, Crying Shame brings an empowering and relatable message about being lonely that is like nothing you will ever see. As actors (Conor Dumbrell, Jordan Barton, Rachel Hunter and Nkara Stephenson) take the audience on a wellness journey simply like no other, they are pulled into a glorious tornado of camp and careful consideration for emotional sucker punches. As the structure of the cabaret collapses, as does the set – creating chilling tableaus of ghost like clowning and allowing the unhinged MC to let out their “frustration” on their own isolation.

Each clown has their moment to shine, as well as their own personal reflective moments which reduce the room to complete silence. Their performances powerfully dazzle with musical and theatrical talent – with stunning tap-dancing and soulful singing. As the piece twists and contorts, the audience is met with well-earned tear-jerkingly honest exchanges. From start to finish, Crying Shame will have your eyes watering for all the right reasons. Without a doubt, missing out on this fantastically thoughtful performance is something to cry about this Fringe.

Tag Archives: Conor Dumbrell

AN INSTINCT

★★★½

Old Red Lion Theatre

AN INSTINCT

Old Red Lion Theatre

★★★½

“a brave piece of theatre”