HOLE!
Edinburgh Festival Fringe
★★★★
“The music is energised and jaunty, giving the show a filmic momentum despite the minimalism”
After a critically acclaimed sold-out run at the Edinburgh Festival Fringe last year, and a recent transfer to Soho Theatre, Hole! returns to Edinburgh where it again delights audiences with its epic musical tale about religion, friendship, and butt plugs. Yes, you heard that right. Butt plugs. Written and performed by Jake Brasch and Nadja Leonhard-Hooper, Hole! tells the story of a charismatic preacher in Nebraska who convinces his followers that “The Great Sucking” is coming to remove all of Earth’s sinners and that the only way to protect themselves is through immediately inserting butt plugs into their anuses. Years pass and we find ourselves following the pastor’s son, Luke, and his best friend, Connor, who must go on a quest to remove any remaining sinners – by removing their butt plugs, of course – for it is the only way for The Great Sucking to come to an end.
Brasch and Leonhard-Hooper stand on a circular raised stage with nothing but a wide, rounded desk, a piano, and a bunch of other instruments and props which they use throughout to tell their story. There are no flashy sets or choral dance numbers, rather objects are very specifically used to create foley sound effects whilst Brasch accompanies on the piano. Every item is used with craft and precision, with the duo constantly surprising us with what can be achieved from such a minimalist collection of props. The choreography is minimal, goofy and precise, with movement by Fringe favourite’s Xhloe and Natasha, a jazzy tap number coming as a particular surprise treat. The minimalism works brilliantly as it allows the audience to fill in the world for themselves.
The show itself feels like you’re being told a Bible story; the story is ultimately about faith and belief, and the form mirrors that, as we have to imagine the events and places from the language and music, rather than seeing everything in front of us. The music is energised and jaunty, giving the show a filmic momentum despite the minimalism.
Whilst the butt plugs might be what everyone is talking about with this show, it’s actually about much more than that. Early on, one of the characters tells us, ‘when the most powerful man is sure about something, the safest thing to do is listen’. Sure, in this instance, it’s butt plugs. But this could really be a metaphor for anything. It’s a show about hope in a time of crisis, and about needing to believe in something to get you through it. But it’s also about following without questioning and how dangerous that can be. Without the comic absurdism at the centre of this show, it could actually be quite terrifying. The humorous approach allows the creators to explore these issues in a compelling, entertaining and – in moments – somewhat outrageous ways. However the show also knows where the line is and is very careful not to cross it. There’s also a great tongue and cheek rapport that Brasch and Leonhard-Hooper have with the audience, as if they’re just as much looking into the story as outsiders as they are the ones experiencing it. There are also deeply tender moments, particularly in ‘A Mother Always Knows’ as the mothers accept their sons for who they are.
You do wonder at first if the premise will last longer than the first twenty minutes, but the script manages to find ways to keep things moving. You become really invested in the boys’ journey leading to some brilliantly gasp-worthy moments at some of the twists. Brasch and Leonhard-Hooper are fantastic throughout, shifting their voices and characterisation to multi-role all the various people we meet and exhibiting a wonderful chemistry with each other. They’ve created a show about belief which asks you to believe in an entire world created by two performers, a piano and a handful of objects. And, quite brilliantly, you do.
HOLE!
Cowbarn at Underbelly at Edinburgh Festival Fringe
Reviewed on 24th August 2026
by Joseph Dunitz
