Edinburgh Fringe 2026
Fempaths: Transistor Radio Hour
Fempath
Genre: Cabaret, LGBTQ+, LGBTQIA+, Live Literature, Live Music, Political, Queer Comedy, Queer Theatre, Satire, Storytelling, Theatre
Venue: Underbelly Bristo Square – Dexter
Festival: Edinburgh Fringe
Low Down
Mari Moriarty and her trans-led live band transform voices from trans history into an emotionally intense mixture of music, storytelling and political cabaret. Combining deeply personal testimony with comedy and audience interaction, Fempaths: Transistor Radio Hour is a timely and affecting celebration of trans identity, survival and community.
Review
Trans people have always existed, yet their histories are frequently marginalised or erased. At a time when trans lives are being scrutinised and manipulated politically, particularly in the United States, but also amid growing anti-LGBTQIA+ sentiment across Europe, Fempaths: Transistor Radio Hour demonstrates why bringing these voices into the theatre matters.
American transfeminine performer Mari Moriarty, appearing as Fempath, leads this cabaret on vocals and piano. Accompanied by two excellent musicians on cello and wind instruments, she transforms material from trans history and activism into original songs while interweaving experiences from her own life. The stories are personal, politically urgent and often extremely touching.
The playful costumes and comic transformations provide welcome lightness within an emotionally demanding hour. The musicians join Moriarty in these visual jokes, creating the sense of a shared world. However, their deeper integration is limited. After briefly introducing themselves at the beginning, they remain largely in supporting roles. Returning to their voices or allowing them to reflect on their relationship with the material could establish a stronger ensemble thread.
The audience interaction is warm and enjoyable, particularly when one audience member stands and receives a song. The opening invitation to write what we would say to an ex, however, feels slightly detached from the show’s central themes. A question such as “What would you say to someone who refused to see you as you are?” might connect the interaction more powerfully with identity, rejection and belonging.
Some transitions remain a little clunky, but the production’s emotional force is undeniable. The closing sequence is devastating. As the light fades and Moriarty repeatedly says “thank you,” rejection and vulnerability become almost physically present. I left carrying a somatic sense of its impact that took time to settle.
By providing free tickets for trans and non-binary people, the company also turns its politics into meaningful access. With tighter transitions and fuller use of its musicians, this very good and deeply affecting production could become outstanding.
