Praise from Alan Turing’s Family


Alan TuringFrom the moment that we began working on To Kill a Machine the legacy of Alan Turing has been uppermost to all of us. We are thrilled and overwhelmed to have the support of Alan Turing’s family.

“I thoroughly enjoyed watching To Kill a Machine. I was totally captivated by the performance of Alan Turing by Gwydion Rhys. He played the part with great sensitivity and understanding of his character. It was a pleasure to see the true generosity and kindness in Alan’s character being well illustrated throughout the play.

The play explores well Alan’s commitment to his work and the country to which he served and also covers the turmoil in his mind with his sexuality. The last highly emotional scene shows the tremendous suffering of Alan Turing inflicted on him by the Government, for which he had worked so hard and achieved so much.

In summary To Kill a Machine is a sensitive and realistic portrayal of the complex character of Alan Turing. I would thoroughly recommend seeing this play.”

Rachel Barnes
Great niece of Alan Turing


What are the reviewers saying?


“This is a continuously stimulating evening with some truly great acting at its heart. While the play could usefully evolve further it is a show that deserves full houses throughout its short run, and a developing future beyond.”

“What lifts this show upwards again to a ‘four-star’ rating is the stature of the key performances and the central one above all, which is truly remarkable. Rhys manages to capture Turing’s sense of intellectual abstraction and his intense vulnerability and weave them into a compellingly coherent whole. It is a beautifully detailed performance – the element of a slight stammer here, a nervous laugh there, and a resplendently translucent sincerity whether expressed in his intellectual ardour and determination or in a pent-up, tensed sensuality graphically released in a sex scene that was absolutely necessary, and an element of his story that is too often airbrushed away into a halo of sainthood”

“This human subject still retains the power to trouble and inspire us, while also posing large intellectual questions on the nature of intelligence and human thought and machines that are at the heart of who we are in 2016.”
“Script and direction are equally to be praised for an exploration of Alan Turing’s life and career that is as full of insight and individuality as it is of respectful curiosity.”

“Gwydion Rhys’ focused and detailed central performance reconciles Turing’s mathematical genius and social incompetence in a complex, infuriating and compelling character with whom the audience is fully involved at every moment.”

“The greatest joy of this production, though, is that it is ensemble theatre at its best: Rick Yale, Francois Pandolfo and Robert Harper create minor characters who are never minor; the company of four are equally essential to this physical and emotional world that never stops convincing or shocking, regardless of whether the scene content is mathematical or sexual.”

“Not to be missed”

The Remote Goat

“An impressive celebration of the genius of Turing and a timely reminder that it would be an injustice to forget how horrifically he was treated by the country that he had helped to save.”

“To Kill a Machine is a poignant piece of theatre that explores the history of one of Britain’s most wrongly accused victims. With magnificent performances from a small, yet capable cast alongside fantastic direction from Angharad Lee, To Kill a Machine makes for sensational drama. What is the difference between man and machine? Head over to the Kings Head Theatre to find out for yourself.”
The Upcoming

*** “I found myself longing for more time with Gwydion Rhys’ deceptively moving performance as the brittle, unchangeably other Turing; romanticising the men in his life with a doomed, dreamer’s naivety.”
The Stage




What is the Kings Head audience saying?


A few of our favourite audience comments below,

Rachel Barnes, “I thoroughly enjoyed watching To Kill a Machine on Friday evening. Gwydion Rhys’s performance as my Great Uncle, Alan Turing was stunning. He totally captured his true personality with his performance!”

 Go and check out To Kill a Machine, It’s outstanding, incredible portrayal of Alan.

 Once again, nailed it.Beautiful in every way. Get your tickets from .You WONT be disappointed

 Very much enjoyed at . Brings the appalling way Turing was treated to life. Also features Welsh bottoms

@NeilMcDermott07 Well done and everyone – lovely work my friend!

@201DanceCompany We loved ‘s , AGAIN! Great to see the show in London!

Sarah Bates “really interesting, great acting, and thought provoking . Go see.”


To Kill a Machine at Kings Head Theatre

TKAM A2 poster W

6 April – 23 April 2016, 7pm (Tuesdays – Saturdays) and 3pm (Sundays)
Press Night: 8 April, 7pm

***** “a much more hard-hitting and accurate look at the life and work of Alan Turing than much of the sanitised films that have been doing the rounds” Wales Online

To Kill a Machine tells the life-story of war-time cryptanalyst Alan Turing. It is a story about the importance of truth and injustice and of keeping and revealing secrets. The play examines his pioneering work considering whether a machine could think, asking the questions “what is the difference between a human and a machine?” and “If a human is prevented from thinking, do they then become a machine?” At the heart of the play is a powerful love story and the importance of freedom, in relation to Turing’s own life, death and posthumous re-evaluation. It is the story of Turing the genius, Turing the victim and Turing the constant in a tumultuous world.

*****”one of the most finely crafted hours of theatre you’ll find on the Fringe” Edinburgh Evening News

Created in 2012, Aberystwyth based Scriptography Productions looks to support and develop writers, find new platforms for text based work to be produced and encourage cross disciplinary collaborations. It seeks to engage new audiences for work through choice of subject matter and through cross disciplinary, multi-platform work and through enhanced marketing and digital engagement. Scriptography Productions is an associate company at Aberystwyth Arts Centre.

“asks devastating questions about the ways in which societies dehumanise those they deem deviant” The Scotsman

The cast includes Gwydion Rhys, Francois Pandolfo, Rick Yale and Robert Harper. It is directed by Angharad Lee and produced by Sandra Bendelow for Scriptography Productions.

After a bombastic, exciting and innovative 45th year, the King’s Head continues its new artistic policy of being a crucible of new writing and critical rediscoveries, whilst also welcoming the much-anticipated return of pub opera, with the aim of being the best pub theatre in London. The King’s Head offers an unashamedly broad church of programming including theatre, musical theatre and opera, transfers to and from the biggest arts festivals in the world, and a trail-blazing policy of ethical employment on the fringe – if it’s on here, you won’t see it anywhere else.

The play was awarded an Arts Council Wales grant in 2015 for production and touring and also selected as part of the Wales in Edinburgh scheme to take the best of Welsh Theatre to the festival. It sold out throughout the run at Edinburgh Festival and earned critical acclaim alongside being longlisted for the Amnesty International Freedom of Expression Award. It is a co-production with Cwmni Theatr Arad Goch who provided invaluable support to help the brand new company produce the play as their very first project.

The play was nominated for four Wales Theatre Awards, Best Actor for Gwydion Rhys, Best Playwright for Catrin Fflur Huws, Best Director for Angharad Lee and Best Production.


6 Ebrill – 23 Eprill 2016, 7yh (Dydd Iau-Dydd Sadwrn) a 3yh (Dydd Sul)
Noson y wasg: 8 April, 7pm

Wedi perfformiadau llwyddianus yng Nghymru ac yng Ngwyl Ymylol Caeredin, y mae To Kill A Machine gan Catrin Fflur Huws yn trosglwyddo i’r Kings Head Theatre yng Llundain. Y mae’r ddrama, sydd wedi ei gynhyrchu gan Scriptography Productions yn gosod hanes Alan Turing mewn cyd-destun o sioe gwis.

***** “dehongliad llawer mwy di-flewyn-ar-dafod a chywir o fywyd a gwaith Alan Turing na llawer o’r ffilmiau sydd o gwmpas sydd yn gwyngalchu’r hanes” Wales Online

Y mae To Kill a Machine yn adrodd hanes bywyd y cel-ddadansoddwr Alan Turing. Y mae’n stori am wirionedd ac am anghyfiawnder ac am gadw a datgelu cyfrinachau. Dadansodda’r ddrama ei waith arloesol ar allu peiriant i feddwl gan ofyn ‘beth yw’r gwahaniaeth rhwng person a pheiriant?’ ac os nad oes gan berson hawl i’w feddyliau, ai peiriant ydyw? Yng nghalon y ddrama y mae stori serch rymud am bwysigrwydd rhyddid, yng nghyd-destun bywyd, marwolaeth ac ail-werthusiad pwysigrwydd Alan Turing yn ddiweddarach. . Stori ydyw am Alan Turing yr athrylith, Alan Turing y dioddefwr, a’r Alan Turing sydd yn gyson mewn byd sydd yn newid.

*****“un o’r oriau mwyaf cywrain ei grefft a welwch chi ar lwyfannau’r Wyl ‘ Edinburgh Evening News

Wedi ei sefydlu yn 2012, y mae Scriptography Productions, sydd wedi ei leoli yn Aberystwyth yn ceisio cefnogi a datblygu awduron, canfod platfformau newydd ar gyfer cynhyrchu gwaith geiriol ac annog gwaith rhyng-ddisgyblaethol. Ymgeisia i ganfod cynulleidfaoedd newydd ar gyfer gwaith drwy ei ddewis o bwnc, gwaith aml-blatfform a thrwy marchnata eang, a chyd-gysylltu digidol.

Y mae Scriptography Productions yn gwmni cyswllt ar gyfer Canolfan y Celfyddydau Aberystwyth.

“mae’n holi cwestiynau tyngedfenol ynghylch sut mae cymdeithasau yn dibersonoli personau sydd yn cael eu barnu i fod yn wyrol.” The Scotsman

Y mae’r cast yn cynnwys Gwydion Rhys, Francois Pandolfo, Rick Yale a Robert Harper. Fe’i cyfarwyddir gan Angharad Lee ac fe’i cynhyrchir gan Sandra Bendelow ar gyfer Scriptography Productions.

Wedi blwyddyn wefreiddiol a gwreiddiol, y mae’r King’s Head yn parhau a’i bolisi o fod yn grwsibl ar gyfer dramau newydd ac ail-ganfyddiadau bwysig, gan hefyd groesawu dychweliad hir-ddisgwyliedig yr opera dafarn, gan ymgeisio i fod y theatr dafarn orau yn Llundain. Y mae’r Kings Head yn ymfalchio mewn cynnig arlwy sydd yn hynod o eang, gan gynnwys theatr, sioeau cerdd, ac opera, trosglwyddiadau o Wyliau theatr mwya’r byd a pholisi arloesol o gyflogaeth moesol ar yr ymylon – os gwelwch i e yma, fydd e ddim yn unlle arall.

Derbyniodd y ddrama grant gan Cyngor y Celfyddydau yn 2015 ar gyfer cynhyrchiad a theithio, ac fe’i dewiswyd fel un o sioeau Cymru yng Nghaeredin er mwyn arddangos y gorau o theatr Cymru yng Nghaeredin. Gwerthodd allan drwy gydol y cyfnod yng Nghaeredin, ac enillodd sylw beirniadol canmoladwy dros ben, ynghyd a derbyn enwebiad ar gyfer Gwobr Rhyddid Mynegiant Amnest Rhyngwladol. Y mae’r sioe yn gyd-gynhyrchiad gyda  Cwmni Theatr Arad Goch, a roddodd gefnogaeth sylwedddol i’r cwmni i gynhyrchu’r sioe fel eu sioe gyntaf un.

Enwebwyd To Kill a Machine am bedair gwobr Theatr Cymru:  Actor Gorau i  Gwydion Rhys, Dramodydd gorau i Catrin Fflur Huws, Cyfarwyddwr gorau i Angharad Lee a Chynhyrchiad Gorau


Catrin Fflur Huws talks to Sandra Bendelow


catrin fflur huwswTo Kill a Machine writer Catrin Fflur Huws and producer Sandra Bendelow talk about the how things are going at Edinburgh Fringe Festival

SB: What has it been like to come to Edinburgh festival to see your play – which is doing really well?


CFH: It’s overwhelming, because there’s so much good stuff here, we’ve seen so much good stuff this week, and the fact that ‘To Kill A Machine is getting such good audiences really is wonderful. The competition is so strong here that I’m really proud that it’s  grabbed so many people’s attention and that it’s been getting sell out audiences. At one level, that  doesn’t make sense because we’re up against famous plays and plays by well-known writers and established companies, and plays that are splashed all over billboards so that people can’t but notice them.  And yet on the other hand, I’m thinking, well it’s a good show. I’m really proud of it as a play and I’m really proud of what Angharad and the cast have done with it. So I think it’s brilliant that Edinburgh’s festival goers have seen that in amidst all the other things and that they’ve given it a chance. So, For the play itself I’m not surprised that people like it, but in terms of there being so much other good stuff here, I’m delighted that this has been something that people have gone ‘yep putting my money on that’ and that they’ve come out thinking ‘Waw – yep – that was brilliant.’


SB How do you feel about this version of the play which has been distilled now from a longer piece into a one hour play?


CFH: It’s really weird. When I cut it I thought I’d cut about 15 pages from the 2015 tour script and I’m finding I can’t think of much that I miss, I can’t think of things that I regret cutting or things that the show is poorer for. So I think that’s quite a valuable lesson for writers about how much you can cut and how much noodling you’ve got in a play that you can be that ruthless. Cut 15 pages, and you find that you’re very rarely thinking ‘ooh there’s a bit missing.’


SB: I always thought that the natural length of the play was a little bit longer, I always kind of felt that I wanted to put a bit more in, those other scenes, like the one in the national guard, just was such a lovely scene, I’d like to have seen it, but it feels with this one now  the journey it goes on is a lot more intense and the impact on the audience is more powerful.


CFH: Which is odd because when we were developing it there was the idea that it should be about an hour and a half. And I sort of think, that’s much longer and I’m kind of wondering ‘Would that have worked?’


SB: Where as a lot of audiences here are actually saying ‘I want more’.


CFH: Yes people do feel it’s kind of a whistle-stop tour of his life in that you get through 42 years in as many minutes. So yes it is a bit  of a situation where you’re 5 minutes in and he’s already an adult, so perhaps people do want to linger on aspects of his life for longer. But I think that’s part of the point as well – that his life was so short and that it does get cut short too soon. Also, it’s better to leave people wanting more as opposed to having them going ‘can we have an interval please?’ The other thing is that although people say they want more – do they really want more, because so many people have left the show feeling really drained and shellshocked. Some people have felt the need to be quiet for a long time afterwards while other people want to talk and to hear their friends’ voices. And you think, well if it does that to you, do you really want more of it or has it told you what you need to know no more no less?


SB: How do you feel about the performances because obviously they know the play so well now so that does have an impact on how they perform it, they’re playing with it a little bit, how do you feel watching the performances now?


CFH: Yes I feel it has developed a lot, even in the period between the tour in May and now. I think the actors have all reflected a lot on their characters in those two months, so I’m finding that Robert Harper is just getting more and more menacing and yet very urbane and very nice in a sort of dark Sir Humphrey Appleby kind of way, and yet at the same time you’re think no, this person could kind of completely mess someone’s life up and not mind or even care particularly And yet there’s warmth there too – the father is well meaning even though he has absolutely no understanding of his son. And Rick Yale, he’s developed the character of Arnold Murray in particular to the extent that now, in the court scene, I do feel sorry for Arnold Murray. In a way I think he is a character you do need to feel some sympathy for because in a way he’s been appropriated by the system, he’s a victim of the system as well. And I think the interaction between Robert and Rick, that wasn’t written into the script, really brings that out: the way in which The Interrogator bullies Arnold Murray into giving the right answer in court. He’s being used by the system there too.


And I Think Francois’ different characterisation, they’ve diverged much more, so you’ve got the very delicate character of Christopher, of someone who probably knows he’s dying, and his fondness and affection for Alan, you’ve got John who’s this very uptight and very black and white, these are the rules, these are what you’re meant to follow. And then that just being taken apart when Alan doesn’t fit into the rules that he lives by, so one the one hand you’ve got someone who has no understanding of why you could break the rules, and on the other hand, this wave of love for his younger brother. And then you’ve got the Gordon Welshman character, quite light, quite sort of straight forward in a way that, Alan gets confused. And I think Francois and Gwydion spar against each other much more in those scenes now – Turing only thinks about the job at hand while Gordon is quite garrulous on the surface, while he’s processing the problem of the enigma machine in the background, and Alan’s gets increasingly frustrated with him for seeming to be so focused on chitchat rather than concentrating.


And Gwydion of course is just…I don’t know how he does it…he even looks more and more like Alan Turing every time I see him, so when I see him as Gwydion I’m sort of slightly baffled that he’s got a welsh accent and I’m thinking ‘where’s that come from?’ I’ve even found myself starting to get confused as to ‘is it Alan Turing playing Gwydion Rhys, or Gwydion Rhys playing Alan Turing?’ But what he puts himself through as an actor is absolutely jaw-dropping.


SB: Do you have any advice for other writers in terms of lessons you’ve learned in terms of how you’ve gone through this process? It’s actually quite exceptional, not only have you had quite a long development process, but also it’s been out and toured now over quite a long period of time so you’ve seen, experienced the actors taking it away and it becoming less the script than what they’re doing after a long period of time. Any lessons in terms of that?


CFH: I think the lesson I’ve learned is how little I knew.  You think when you’ve written a play, it’s finished. And then I realised that once it’s gone through a development process and a tour and it’s in the hands of Angharad and in the hands of the actors, how much I didn’t know. How much it could be edited, how much it could be changed, what it could be done to it to make it visual. Despite it being largely the same words as the words I wrote, it is a completely different play from what I thought was a final written version, and the difference between the final written version and the performed version, you realise, just how much of a process it is. Of taking it from a flat 2 dimensional medium to a 3 dimensional medium, that’s been something I wasn’t expecting. And how much it changes in performance too – the actors are bringing out little nuances, so I’m not seeing ‘my’ play any more, I’m seeing a play that’s made by so many layers of rehearsal and performance and re-writing and performance and the director’s ideas and the cast’s ideas.


SB: I know you’ve seen lots and lots of things in Edinburgh, but what’s the one you’d recommend?


CFH: oooh the one I’d recommend? I haven’t seen anything I haven’t sort of liked, haven’t seen some merit in – I’ve seen children’s shows, plays, music, cabaret, circus and it’s difficult to say ‘oh that’s better than that.’ The one I’d recommend for writers is The Bookbinder. That is absolutely spellbinding in terms of the performance and the visuals, but because it is a story about writing stories, and it has an important lesson for anybody who wants to make anything, so I think that’s the one I’d recommend to people who are writers.

More information is available on Catrin Fflur Huws here

To Kill a Machine is at Edinburgh Fringe Festival ZOO Venues until 31st August,


What is the audience saying?



“To Kill A Machine by @scriptography is outstanding. Incredible performances all round. Surely one of the most poignant shows at @edfringe” @stephconnell292

@ZOOvenues highlights are To Kill a Machine @scriptography (incredible lead performance) @WardrobEnsemble Future of Sex” @nickmslater

“To Kill A Machine was fantastic – brilliant, truthful performances” @VickiGlover26

“To Kill A Machine is a must see. Wonderful cast & brilliant play.” @durnowrich

“Absolutely beautiful acting in @scriptography ‘s . Really inspiring performances. Beautiful.” @rosemaryterry

“So far my two favourite plays have both been Welsh productions. Iphigenia in Splott and To Kill A Machine. 2 outstanding performances.” @fade2dust

“Just seen @scriptography #tokillamachine. Wonderfully written and superbly acted. Passionate, painful, and poignant. Gwydion Rhys is a star.” @lucywithasmile

“#tokillamachine – absolutely amazing. Definitely go and see!” @charli_unwin

“To Kill A Machine is the most powerful piece of theatre you will ever see. Don’t miss it at The Edinburgh Fringe !” @sueavery_writer

“fabulously moving show – great performances all round” @livingpic

“To kill a machine was by far one of the most powerful and moving pieces of theatre I have ever seen. Absolutely incredible! #” @Julia_Birdx

“Blown away by Kill a Machine – Zoo venue – a must see! “ @Poshcoch

“To Kill A Machine – incredibly moving and beautifully acted.” @Alice_Burrows

KillMachine2118w“Outstanding performance of To Kill A Machine tonight. Another top Welsh made production @edfringe – loving #Edinburgh” @Jamrees

“Thought #tokillamachine was brilliant last night. A direct, powerful piece about a great man who was treated awfully. Congrats. GO!” @BaleGJ

“People of Edinburgh, go watch ‘To Kill a Machine’ @ZOOvenues Terrific script, great direction by @AngharadLee and some really superb acting” @darkmantheatre

“don’t miss #tokillamachine. Caught it last night, fantastic perfs & compelling depiction of Turings life” @KBarrDiff

“Loved To Kill A Machine @ZOOvenues Southside.  Compelling theatre impeccably acted & directed” @FringeMan2015

“Saw the most amazing show last night “To Kill a Machine”, the best piece of theatre I’ve seen so far the the fringe #edfringe” @FrancescaHill18

“I saw the most incredible piece of theatre tonight, still can’t get over how great “To kill a machine” was #edfringe” @maddie_bonser

“To Kill a Machine is dazzling theatre. Gwydion Rhys is revelatory as Alan Turing #bestofEdinburghFringe  #ToKillaMachineElectrifies” @Fjaklute

“A powerful piece of theatre.” Thomas Meyer

“hits like an emotional freight train.” Graeme Ross

To Kill a Machine is at Edinburgh Fringe Festival ZOO Venues until 31st August,


What are the reviewers saying?




“To Kill A Machine arguably one of the most finely crafted hours of theatre you’ll find on the Fringe.”

Liam Rudden Edinburgh News



“the writing mixes the abstract with the naturalistic with skill, creating a poignant piece that by exploring the nature of machines, raises many questions about what it is to be human.”

Total Theatre



“absolutely sensational, and features one of the finest acting performances I have ever seen on the

Fringe.” Steve Griffin Edinburgh 49



“Gwydion Rhys is tremendous as Turing” Jon Wainwright Public Review


To Kill a Machine is at Edinburgh Fringe Festival ZOO Venues until 31st August,

Alan Turing play gets Nomination for amnesty Freedom of Expression Award

To Kill a Machine has been nominated and long-listed for Amnesty Edinburgh Festival: Freedom of Expression Award which honours an Edinburgh Festival Fringe theatre production of excellent artistic merit that builds understanding and raises awareness about human rights in an inspirational way.
To Kill a Machine tells the life-story of war-time cryptanalyst Alan Turing. It is a story about the importance of truth and injustice and about the importance of keeping and of revealing secrets.

The play examines his pioneering work considering whether a machine could think asking the questions: what then is the difference between a human and a machine and if a human is prevented from thinking, do they then become a machine?

At the heart of the play is a powerful love story which questions the meaning of humanity, and the importance of freedom and considers how these questions are played out in relation to Turing’s own life, death and posthumous re-evaluation. It is the story of Turing the genius, Turing the victim and Turing the constant, in a tumultuous world.

Further information and full long list is available here
To Kill a Machine is at Edinburgh Fringe Festival ZOO Venues until 31st August,

Rick Yale


KillMachine2053wRick Yale  talks about being at Edinburgh Fringe Festival playing The Betray in To Kill a Machine a new play about Alan Turing written by Catrin Fflur Huws.

What has the experience been like being in Edinburgh for the first time?

Well it goes without saying that this is one of the most beautiful cities I have ever been in. There is so much to do and see that for the first few days it felt a bit overwhelming. But as I’ve settled in, you really appreciate the atmosphere of the festival. The streets are filled with support and love for the arts and as an actor you feel like a kid in a candy shop with so many shows on your doorstep.

What is is like to be in a show that is receiving such incredible responses from audience?
It feels so warming that the audience has really tuned in and responded so beautifully to Alan’s story. It makes what we do so worth it when people leave the space having either learned something about Turing or even about themselves. With each positive review it gives us more of an incentive to keep a high standard of storytelling .
What has been your favourite experience of the festival so far?
Waking up to Fran leaning over me, giggling like a schoolgirl, newspaper in hand, reading a lovely review.
More information about Rick Yale is available here
To Kill a Machine is at Edinburgh Fringe Festival ZOO Venues until 31st August,

Francois Pandolfo


KillMachine2_rehearsals_021wFrancois Pandolfo talks about being at Edinburgh Fringe Festival playing The Friend in To Kill a Machine a new play about Alan Turing written by Catrin Fflur Huws.

How has this experience of Edinburgh Fringe differed from previous visits?

I was here last time as a stage manager in 2008, not normally my bag but I was helping out a producer friend at The Assembly Rooms with a show he was looking after called The Pyjama Men. Very funny boys indeed! I vowed that I would return one day as a performer because I found the experience so intoxicating for anyone itching to use Edinburgh as a testing bed for creativity. It’s only taken me 7 years but here I am. Better late than never!
What is it like to be in a show that is receiving such incredible responses from audience?

Amazing. I would like to say it’s expected because we’ve always had such faith in the piece but it really is a lovely surprise because there is so much competition here and if I show stands out and gets a really good response then it really is quite special. It’s such an honour to be part of such a creative team and we are having an absolute ball. To be honest, even if the show wasn’t doing as well as it is, we’d still be having a great time because my fellow cast members, crew and company are a real blast. I’m going to be having major festival blues after this.


What has been your favourite experience of the festival so far?

Going to see a late night mime show called ‘Dark Side of the Mime’ at Assembly Roxy venue. It completely pushed all the boundaries and went all out to test what we allow and don’t allow ourselves to find funny. It explores, examines and exploits what it is to be human today. Really brave, funny, grotesque and extremely naughty. It was incredible and I had such a good time. 2nd  experience would be seeing ‘Diary Of A Madman’ at The Zoo Venues.  Robert Bowman literally gives a master class in acting in this inspired piece of theatre about insanity and loneliness. It blew my mind. Hopefully there are many more to come.

More information about Francois Pandolfo is available here

To Kill a Machine is at Edinburgh Fringe Festival ZOO Venues until 31st August,