Scotland

Stamptown – Assembly George Square

Ten years at the Edinburgh Fringe makes Stamptown something of an institution. The problem, perhaps, is that alternative comedy is supposed to kick against institutions, not become one. This particular institution has, sadly, aged like milk.

Created and hosted by Zach Zucker, Stamptown has built its reputation on chaos, unpredictability and giving unconventional performers a platform. Here, however, Zucker seemed remarkably reluctant to surrender that platform to anybody else. He was onstage for an extraordinary amount of the evening. At some point, you rather wished he would move over and let the acts on. Unfortunately, when they arrived, they weren’t particularly strong either.

The notable exception was aerialist Donna Carnow, unquestionably the highlight of the evening. In a show frequently trying desperately hard to be outrageous, her skill provided something genuinely worth watching. The person who rose furthest above the evening did so, quite literally.

Elsewhere we had Holocaust jokes, racist jokes, sexist jokes, feminist jokes, nudity and plenty of deliberate titillation. Transgression can be exhilarating when it feels dangerous, clever or unexpected. Here, much of it simply felt tired. Being offensive does not automatically make something funny, particularly when the laughter required to propel it isn’t really there.

Zucker certainly had his supporters. A particularly enthusiastic front row received high fives, jokes and repeated references to being “his guys”. Increasingly, however, they felt less like an audience than an extension of the act. Around them, the response seemed considerably more muted.

What makes this particularly disappointing is that Stamptown has found almost the perfect home. The Palais du Variété at Assembly George Square Gardens, with its runway, stage and glorious circus tent atmosphere, should allow this sort of anarchic cabaret to fly. Perhaps I am being architecturally forensic again, but unlike some Fringe shows fighting against their venues, Stamptown has been handed virtually everything it could want.

There is plenty of nudity and titillation, recalling some of the burlesque shows I’ve seen this Fringe, but even that cannot rescue the production from itself. The biggest problem is not that Stamptown is shocking. It is that, after ten years, much of what once presumably felt dangerous now feels surprisingly predictable.

A fantastic venue, a considerable reputation and an enormous opportunity. That should have made for quite a night. Instead, this was extremely disappointing.

Playing until August 29th 2026, https://www.edfringe.com/tickets/whats-on/2026STAMPTO

Reviewer: Greg Holstead

Reviewed: 16th August 2026

North West End UK / Theatre Muse UK Rating: