Fight Song, Venue 13. Edinburgh * * *
. This initially seems like a piece primarily committed to presenting dead women as erotic sex symbols, but, thanks to writer Lauren Ashton Baker's witty distinctive dialogue, delivered with polish by the excellent cast, it ends up being something more interesting than that (even though it's kind of that as well).
Part exploration of religious hypocrisy, part satirical comedy about a group of 'mean girls'-inspired victims of a car crash who, despite finding themselves in the afterlife, are committed to the kind of intolerance one's come to expect from Trump's America, it's narrated by a wonderfully world weary Lucifer, played by the quietly charismatic, mesmerising Samuel Camp.
Relishing its sex and blood aesthetic, the story feels less developed than the sleek production values, with an ending that descends into screaming and shouting. The play's message is confused, but the mood is so heightened that it seems to occupy its own space – one that sits oddly between comedy and drama, but it nevertheless engaging and original.
Until 24 August