
Are the Edinburgh Fringe food trucks worth it? Here's my verdict
You might not have a lot of time to grab food in between performances. Sometimes a meal deal or a Greggs is enough to get me through it, but I thought I'd explore some of the food options which are on offer at Fringe venues.
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With that in mind, I was kindly invited to try out the various food stalls at the Pleasance Courtyard – one of the festival's best known venues.
Here's my honest review of everything I tried.
Location
Pleasance Courtyard is one of the main Fringe venues – and the one you're probably most likely to recognise in photos.
Set in a literal courtyard (which is part of Edinburgh University), and spanning over several levels, there's plenty of things on offer here. And there should – theoretically – be plenty of places to sit, too. But more on that later.
(Image: NQ) There's various food stalls dotted around the venue, and they're in a prime location for people who are already in the Courtyard, making it a great quick fix for anyone feeling a bit peckish in between shows.
Options
There's a good range of stalls at the venue. Here's everything that was on offer:
Harajuku Kitchen: Japanese street food
Japanese street food Mimi's Bakehouse: Coffee and sweet treats
Coffee and sweet treats Mint: Flatbread wraps
Flatbread wraps Pizza Geeks: Pizza (clue's in the name, really...)
Pizza (clue's in the name, really...) Total Meltdown: Grilled cheese sandwiches
There are also six bars across the venue, which are all excellently stocked.
I started off with half a pint of Aspall's cider, which I got from Arthur's Bar and cost just over £3. I don't feel the need to review the drink itself, because you can get it pretty much everywhere!
(Image: NQ) There was a lot of choice and the staff were really friendly. I can imagine it can get quite overwhelming when it's busy, but they were all lovely and I got some great service.
I'd recommend walking past the bar in the main courtyard and visiting a bar on one of the other levels to avoid the worst of the queues. It can take a very long time to get a drink otherwise, but I didn't have to wait too long at one of the smaller bars.
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It was difficult to pick where I wanted to eat from (I could have tried something from everywhere!) but I settled with Total Meltdown, a stall specialising in toasties.
It's a very simple kitchen staple – quite difficult to get wrong – so I thought it would be interesting to see how they would make it stand out.
(Image: NQ) (Image: NQ) There were loads of different options, and it looked great for vegans, which must be difficult to achieve when the main ingredient in the dish is cheese.
I chose the Reuben, which had cheese, pastrami, sauerkraut and a creamy Thousand Island dressing, which is made from a mayonnaise, either ketchup or tomato puree, and chopped pickles.
(Image: NQ) It tasted good. The sauce was nice, and it worked well with the pastrami, which I've never had before.
But it was also £12. It was very small for that price, and the bread wasn't anything particularly special. I would have expected a bit more – both in quality and quantity – for that much. Honestly, it felt a bit like a rip off, especially for anyone who is buying for more than one person.
I did really like the look of all the different flavour combinations, though – I would have loved to have tried the kimchi one. I just wish there was more of it.
For dessert, I paid a visit to Mimi's Bakehouse, which I'm a big fan of anyway. You can find them nestled inside the children's area, which I think is a lovely idea for parents who might be in need of a coffee boost.
(Image: NQ) They had a fantastic selection of sweet treats. I have a soft spot for carrot cake, so I went with one of their cupcakes. It didn't disappoint, it was very soft and had the perfect amount of icing.
(Image: NQ) This is a great option for anyone looking for a change from the typical street food-style vendors you get everywhere else at the Fringe.
I didn't try it this time, but I would highly recommend Harajuku Kitchen. It's one of my favourite places to eat in Edinburgh – I promise you won't be disappointed by the karaage chicken.
I would also have liked to try Mint. The chicken and halloumi wrap is apparently a firm favourite among festival-goers.
Price
It goes without saying that the food here is expensive. There are less options in the area surrounding the courtyard, so I suppose people are less likely to be fussy (or they're too hungry to be that bothered) about paying a bit extra.
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If you're prepared to pay that, that's fine. But the Fringe is an incredibly expensive festival as it is, and I don't feel as though this is going to be a realistic option for many people.
Verdict
The location of these food stalls could not be more perfect. There's so much choice, lots of meat-free options, and all the vendors are local to Edinburgh, which is fantastic. The venue had a great atmosphere to it, and it felt nestled away from the rest of the city, which I appreciated.
You also have a good chance of spotting some famous faces, if that's something you're into. In the two hours I was there, I saw Rosie Jones, Jazz Emu and a Gogglebox star.
With that said, it is pricey. This isn't unique to the Courtyard, however, and you're likely to pay a similar price at any of the food stalls you come across at the Fringe.
Another point worth mentioning is that for anyone who struggles with big crowds or can get overstimulated, this may not be the place for you. It's incredibly busy and noisy, and despite there being lots of seating options they were all full when I was there – I ended up eating my cupcake sat on a wall. For anyone with accessibility needs, I'd bear this in mind.
There is definitely something for everyone here, and I can imagine it being particularly useful when you have a day packed full of shows.
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Scotsman
25 minutes ago
- Scotsman
Edinburgh Fringe theatre reviews: Trouble, Struggle, Bubble And Squeak
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Trouble, Struggle, Bubble And Squeak ★★★★ Pleasance Courtyard (Venue 33) until 24 August The Edinburgh Fringe is not short of solo artists who, faced with a breakup, go on to make deeply self-absorbed shows about how angry they are about their breakup. The theatre-maker and visual artist Victoria Melody, though, is made of sterner stuff; and after previous shows about the worlds of Northern Soul and British undertakers, among other subjects, she decided to move her life on by joining an English Civil War re-enactment society. 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In Trouble, Struggle, Bubble And Squeak - a one-hour solo show written and performed by Melody, and directed by Mark Thomas - all of this is narrated in fine agitprop style, with Melody's pals and comrades in the community represented by vivid black and white photographs on sticks; she also uses small felt vegetables and similar props to bring the story to life. Advertisement Hide Ad Advertisement Hide Ad And while Melody's show may not be the most polished performance of the Fringe, it is one of the most genuinely purposeful and hopeful; reminding us that once people reclaim the soil beneath their feet, and start using it to grow their own food, they are on their way not only to a radically better diet at prices they can afford, but to a true sense of autonomy and empowerment, long lost to the machine age. Joyce McMillan Lymphomaniac ★★★ Just the Tonic at the Caves (Venue 88) until 24 August In 2014, at the age of 22, life was going well for Megan Timpane. An aspiring young actor living in Hollywood, she worked at upmarket handbag and fashion chain Michael Kors, and was about to audition for a Will Ferrell movie. She also has a great line in impersonations, from Britney Spears to Kourtney Kardashian by way of the cast of babies she voice-acted in an animated series, and all are fortunately brought out to play in her show. Then she was diagnosed with cancer, stage 3 Hodgkin's lymphoma, and during her subsequent treatment and recovery she began to put this real-life, one-woman play together to work through her experiences. Advertisement Hide Ad Advertisement Hide Ad In this she pulls hardly any punches, from detailing the embarrassing effects of chemotherapy upon her digestive system, to an amusing montage of wildly differing reactions from friends when she tells them her bad news. While Timpane's exploration of the psychological effects and long-term implications of her recovery feels novel, it's also somewhat overlong and self-analytic, meaning the back end of the play is less dramatic or revelatory. Yet this is a personal piece with plenty of humour and frankness around what Timpane has been through, and it's hard to see how anyone who shares her experiences won't find it a very moving and identifiable piece of work. David Pollock ROTUS: Receptionist of the United States ★★★ Gilded Balloon Patter Hoose (Venue 24) until 24 August Chastity Quirk is an old-fashioned all-American girl from Idaho, with mandatory bottle-blonde hair and a fake innocent high-pitched squeal of a voice. It's no surprise she was a sorority girl at school, a cheerleader who chanted about being 'saved and spicy' to emphasise both her religion and her hotness. Advertisement Hide Ad Advertisement Hide Ad Now she's made it her mission to get into one of the most exclusive clubs in the world – the office of the President of the United States. Beneath Chastity's cheery, can-do surface she's merciless in pursuing this goal, leaving the woke news media and yuppie Democrats in her wake as she carves out a niche as the Receptionist of the United States of America, the woman with her hands on the diaries of power. But has he gotten herself in too deep, and do the leering, crotch-grabbing men of President Drumf's administration have something special in mind for her? On the surface, Leigh Douglas (who is Irish, but the US accent is excellent) has carved out a satisfying character comedy which gets plenty of laughs as it pokes fun at the seat of American power and some of the personality types which populate it. Advertisement Hide Ad Advertisement Hide Ad Yet as it nears its conclusion it takes a turn for the darker, leaving the audience in no doubt they've seen an effective political satire as much as an irreverent comedy. David Pollock Body Count ★★★ Gilded Balloon Patter Hoose (Venue 24) until 25 August A roaring rampager of revenge, Lily, the protagonist of Gabrielle Beasley's one-woman show imagines herself as a cross between Harley Quinn and Buffy the Vampire Slayer. Initially, however, she's more like the protagonist of Helen Zhavi's novel Dirty Weekend, a woman driven to violence by male aggression. Lily's body count doesn't consist of partners but victims. She feels compelled to kill out of fear of walking the streets alone at night but her deeply sadistic tendencies also suggest a true psychopath. With her black leather biker jacket and short platinum hair, Lily has the iconic female avenger look down but she's also the ultimate unreliable narrator. Advertisement Hide Ad Advertisement Hide Ad Beasley does good work compelling the audience to feel sympathy for Lily — even with her malignant tendencies — but the narrative becomes ever more unbelievable in the aftermath of Lily's murder of a friends abusive partner. This seems intentional as the police officer who turns up at her door is called P.C. Goodhusband (nudge nudge) which signals a sharp turn towards Lily's fantastical view of herself. This certainly doesn't undo all Beasley's good work but it does sit uneasily with the grimy realism of the first half. Rory Ford Baron Vordenburg's Guide to the Paranormal ★ theSpace @ Symposium Hall (Venue 43) until 23 August This sophomoric spectacle initially flatters to deceive, opening with some excellent costumes and the striking presence of Kelly Desiree as The Scarlet Countess. Unfortunately, the vast majority of the show is then surrendered to Baron Vordenburg (Corey Boe) who really lets the side down in his Gap khakis and curious mittel-European accent. Advertisement Hide Ad Advertisement Hide Ad Supposedly a slide-show presentation (albeit without slides) about the undead, the Baron employs two hapless goons to illustrate his vampire hunting techniques. Remarkably, this Dark Pony Radio production comes to us all the way from the U.S.A. yet bears all the hallmarks of a lark dreamed up in the pub at the weekend. Rory Ford Exposure Therapy ★★ Greenside @ George Street (Venue 236) until 23 August In a neat concept for a Fringe show, New York ex-pat Nicole Nadler attempts to conquer her fears – including change, the unexpected and reviews like this – by improvising around post-it notes written by the audience detailing their fears, suggesting truth or dares or directing her to read aloud passages from her teenage diary. 'Push me out of my comfort zone,' she says. The resulting anecdotes from her life are warmly delivered, but a stronger predeveloped framework behind an illusion of improvisation feels like it would benefit someone who is neither a trained actor nor comedian. However, this wouldn't test Nicole in the way she wants to be – and it's a show primarily about her need to do this, rather than the audience's to see something more crafted. Sally Stott Jack Offerman's Big Uncut Flick ★★ Assembly Roxy (Venue 139) until 25 August Advertisement Hide Ad Advertisement Hide Ad Although considerably slicker and more professionally produced than many Fringe productions, this misfiring parody by New York writer Todd Michael doesn't hit the target. A recreation of a 1970s U.S. TV screening of a less-than classic film noir, Vice Ain't Nice, with some welcome commercial interruptions, the 1930s style movie performances are so broadly overplayed as to be unrecognisable. The script is fatally short of gags and the talented cast have little recourse but to talk faster and act sillier. Kathleen Macari wins a couple of laughs with her portrayals of outdated notions of femininity but — given the obvious effort involved — this really should be much more fun. Rory Ford