Fluid energy of change

dust sheets. Subtle changes to Vaughan’s costume, by costume designed Kate Flanaghan, indicate the changing centuries. But, in truth, the entire show turns on her performance. Capable of being both assured and vulnerable, she grasps the rich language of the play with such confidence and clarity that this lenthy (for the Fringe) monologue is never dull.

In a world where increasing numbers of people identify as non-binary, the fluidity of gender in Orlando takes on a new energy.

We also see the centuries from a female perspective: the Victorian age passes in a dark cloud of stuffy crinolines and respectable marriages; only the modern age brings a measure of freedom and (at last) writing success.

But perhaps the greatest achievement of the play is that Jones and Vaughan offer us – as Woolf does – glimpses of Orlando’s inner world: haunted by an awareness of the passing of time despite having drunk the elixir of youth, and questing endlessly, through centuries, places and genders, for the truths of the shifting self. SUSAN MANSFIELD

Until 27 August. Today 11:30am. thespace on North Bridge (Venue 36)

J

Seemingly suggested (”inspired” is too strong a word) by Under Milk Wood, this Fringe debut from Yorkshire company Mrs Brown Presents has one clever touch.

At the start, the house lights remain up while the actors, on a darkened stage, clean up a music venue at the end of a gig. By the end, after the competent cast have conducted an oppressively dull tour of the private thoughts of the residents of a small village, you may wish that the stage lights had remained off. It is almost entirely without interest. RORY FORD

Until 25 August. Today 3:35pm.