Edinburgh Fringe 2026
Bloody Mary’s
Fat Pooch Productions
Genre: Theatre, Theatrical Storytelling
Venue: Venue 45 at theSpace @ Venue 45
Festival: Edinburgh Fringe
Low Down
Set in 1823, an Edinburgh riddled with greed and decay, Mary McKinnon is the queen of the night. Her brothel, Bloody Mary’s, is successful, her reputation untouched… Until one night of violence changes it all. When gentlemen turn ungentlemanly and demand more than Mary is willing to give, tragedy creeps under the red curtain and blood becomes the new currency. Come join us for a night of song and dance where the women from Edinburgh’s past reclaim their voices.
Review
You walk into Mary’s (Venue 45) and the space is already alive. The energy in the room, the sense that something is about to happen. This production is built on a real story. There’s actual history grounding it, and you feel that throughout. The show takes some liberties, sure, but it stays true to what actually happened in 1823 Edinburgh. That matters, because when things turn violent, when the gentlemen become genuinely dangerous, You believe it.
The lead playing Mary is remarkable. She’scommanding when she needs to be, but also vulnerable. Even when she’s not the focus of a scene, she’s there. You’re always aware of what she’s seeing, what she’s thinking. That’s the mark of a really good performance.
The direction is clear and purposeful. There’s space for the actors to find truth within the blocking, and some genuinely beautiful moments. The rape, murder, and lover scenes are handled with real skill. They’re fast. They hit hard. The tonal shift is sudden enough that you hear the sharp intake of breath from the audience. The violence feels earned and theatrical without ever being exploitative, which in this setting is quite a feat.
The audience interaction is one of the best parts. You can imagine what might happen in a brothel setting, but this production keeps it playful. It never tips into smutty or uncomfortable. There’s real chemistry between Mary and the room, and it feels genuine.
What works is the balance. This is a show about death and murder, but there are genuinely funny sections, mostly from Mary and her side kick. They find the humour in the dark without undermining the weight of what’s happening. That takes skill.
The ending has echoes of Hadestown; that emotional final swan song, and it fits. The emotional song lands beautifully. The women reclaiming their voices isn’t decoration; it’s the whole point.
The sound and lighting work easily. They support the story without drawing attention to themselves. They help sell that 1823 world and they shift with the tone. The live musicians are excellent; they’re not just accompaniment, they’re woven into the show.
The pacing is relentless. Nothing drags. You’re carried through from the moment you arrive to the final moment.
There’s one thing worth mentioning. The hanging is well done, but it feels like the production is holding back. If they could do this live with the right tech, or hide the exit cleverly, it would be genuinely striking. It’s the one moment where the boldness the show commits to everywhere else seems to step back.
This is a must-see. It takes risks, it trusts its audience, and it has something to say. Go
