Edinburgh Fringe 2026
Rosalie Minnitt: Clementine 2
Rosalie Minnitt
Genre: Comedy, New Writing, Theatre
Venue: Pleasance Courtyard Beside
Festival: Edinburgh Fringe
Low Down
A brilliant, batty piece of bravura theatre. Rosalie Minnitt returns as the gloriously unhinged Clementine §for an hour packed with zinger lines, brilliant tangents and razor-sharp writing. Frenetic, irreverent and wonderfully performed, this is that rare sequel that lets its heroine grow without sacrificing any of the glorious chaos that made her so much fun in the first place.
Review
Rosalie Minnitt: Clementine 2 is playing at the Pleasance Courtyard Beside venue throughout the Edinburgh Fringe Festival in 2026. This finger-on-the-pulse Bridgerton-style parody keeps you right on your toes and showcases the work of an outstanding writer and performer.
Clementine is back. Anyone who saw the initial rise of Clementine in 2023 will more than likely have left the theatre in fits of giggles and with the healthy glow of joy that comes from having watched something brand-new and super fun. You may have also been desperate for another instalment and part two does not disappoint.
The name Clementine is emblazoned across the back curtain. The only other items of interest are an ornate chair and a large guillotine, delicately entwined with foliage. Without further ado, we meet (or re-meet if you were lucky enough to see part one) the eponymous Clementine. She’s a rambunctious and petulant dreamer, still trapped in a world made for men but this time she’s not going to let any man get in the way of her story. She’s determined to pass the Bechdel test and treat us to a journey about personal growth and hunting down your dreams.
Rosalie Minnitt as Clementine is an absolute joy to behold. Her mischievous, playfully catty and occasionally saucy energy keeps the audience right on side. Even better are the unscripted tangents that she bravely and instinctively follows, allowing us into her inner monologue as Rosalie the actor rather than Clementine the character. They become some of the most endearing and side-splitting parts of the show. She’s extremely quick-witted and pulls a huge amount of humour out of these asides and the crowd work on offer via the planned audience participation.
The deeper we get into the show, the more the story itself feels irrelevant. As she notes herself, “there’s no time for a B plot… there’s barely a plot!” And we are fine with this – irrelevant is not as fun as irreverent anyway – which this show has in spades. We aren’t hanging on the beats of the story, we’re basking in the joy of hearing Clementine’s unhinged, diary-like narrations come to life and the increasingly bizarre situations her search to become someone important throws her into.
It is a show that makes great use of the available tech. Projections and voiceover remind us of the consistent modern-day references that lie within this Austen-era dramedy. That said, if Clementine 2 were a radio play that merely read her diary-style extracts, the writing would still be brilliant. Allowing Minnitt to layer her wonderfully frenetic performance on top elevates it to another level. There are so many laughs, some real zinger lines and madcap tangents and the audience are fully on side throughout.
Clementine 2 further peels back the skin of its heroine and lets us see just how fragmented and juicy she really is when taking risks and being vulnerable. Clementine may have grown since we last saw her but thankfully she hasn’t become any less unhinged. Minnitt has created that rarest of sequels: one that allows its character to grow without sacrificing any of the glorious chaos that made us love her in the first place. A brilliantly batty piece of bravura theatre.
