REVIEW: Headcase, Cold Open Theatre, EdFringe (2026) ★★★

Eerie, prescient, and chilling, this one man show is a thoughtful interrogation of the formation of patriarchal power through religion. Amidst a slew of manosphere-inspired Fringe shows, this is the most lateral take on male loneliness, lack of self esteem, and systemic patriarchy that I have seen this year.

Ian, the youngest man in his isolated rural town’s church community, finally hears the voice of God. He’s talking to him from a stone head in the local haunted house. And maybe these prophecies can help him to finally find some way to connect with others, earn some respect, or maybe even to get a girlfriend. But the more power with which Ian is vested, the more he has to fight to keep it, and the farther he has to test his own morality.

Writer and performer Douglas Yannaghas gives a committed performance as Ian, a lonely and traumatised young man who is scrabbling around for any shred of connection that he can find. He takes us through various pivotal moments in Ian’s life: the death of his parents, cruelty at the hands of his aunt, failing to fit in with other boys his age, and meeting the woman that he will go on to marry. His strongest moments are in showing the grim determination with which Ian manipulates those around him and convinces himself of his own innocence, which is truly terrifying to watch.

Headcase’s biggest sin is trying to do too much. Its pace is tensely unrelenting, but that means that we are rushed past some really key moments that are much stronger than some of the extra padding around the most impactful themes. By far the most effective strands of plot are those involving the Minister: the childhood tale of peer pressurised graffiti, and the adult decision to resort to violence against the man who had cared for Ian as a child. If the piece was distilled to these two central converging strands, it would be much easier to connect with the piece.

A seemingly small point, but the constant announcement of what age Ian is as he speaks is distracting and breaks the spell that Yannaghas’ performance is weaving. These shifts were already clear from Yannaghas’ physicality and vocal work, and with some more careful direction could have been indicated through these performance shifts and some set lighting states for each age.

Unsettling and atmospheric, Headcase is an exciting return from an emerging Scottish company.

Drink recommendation: Communion wine.

Performances of Headcase have now concluded for EdFringe 2026.