Lamesha Ruddock
This is the reality check we all need this summer. The personal is political. Art is personal. Art is political.
A gorgeous model appears, donning a large sequined dress sparkling in the spotlight. She delivers her last will and testimony, the death of her critical theory focus, the birth of her pop star career.
Critique Cabaret is a lecture dressed as a pop concert, built around one question asked and re-asked from every angle: what is the ideal Black female? It is sharp, funny, and unafraid, Critique Cabaret holds a serious argument and a glittering show-stopper simultaneously.
Critique Cabaret exposes the long relationship we have with algorithms through systematic racism that persists in this society. Like Toni Morrison said “The function, the very serious function of racism is distraction. It keeps you from doing your work.” This has never felt so palpable due to the distraction of racism, artists of colour have been facing in Edinburgh this summer. Critique Cabaret is about finding your euphoric voice and the rage that holds it.
Mandy Harris Williams delivers such tantalising, controlled vocals of original music accompanied by a pianist. Mandy brings that vintage Hollywood film aesthetic from her outfits to the games we play. Mandy playfully asks you to really think about your decision-making, where do you prioritise the collective over the personal?
Critique Cabaret is deeply introspective. As green binary code illuminates the back wall, blasting through “Dirty Cash (Money Talks)”, she capitvatingly dances and moves across the stage. The dollar-bill suit and green crocs, the sequined gown, the brown two-piece, the blonde wig: the costume design alone tells the story of who this figure has to become to be heard. To beat the algorithm.
Make sure you leave with some Mandy cash, Critique Cabaret doesn’t let you leave as a passive witness.
The reality of the world and the context that the personal is political washes over you in a dedicated in memoriam section, to the journalists, children, people of Gaza, to the lynched from the USA to Congo, to the media lynching of Jason Arday. A deeply responsive show that knows the weight of its voice to the voiceless who are no longer here.
“This is the pop star we’ve been waiting for.” When there is seemingly no place for you in this world, you become fearless.
Recommended Drink: Spend your hard earned Mandy Cash on a local chain’s Pumpkin Spiced Latte.
Performances of Critique Cabaret have now concluded at EdFringe 2026.
Salvador Kent
