Review: Edinburgh Fringe Festival, WHITE, Pleasance Courtyard
★★★★★ Mixed race identity is often described as being stuck between two worlds, a descriptor that lacks nuance. Koko Brown’s one woman show WHITE adds layers...
Afshan D'souza-Lodhi
Review: Edinburgh Fringe Festival, Marsistan, Sweet Venues Novotel
★★★★ Marsistan (pronounced Mars-istan) is the reason I come to Edinburgh Fringe. This little gem, hidden away in a hotel, explores the relationship between t...
Review: Edinburgh Fringe Festival, Man Down, Venue 13
★★★★ Controversial deaths seem to be a catalyst for riots, which in turn leads to difficult conversations about race the world over. Man Down is no exception...
Review: Edinburgh Fringe Festival, Trojan Horse, Summerhall
★★★ Trojan Horse, directed by Matt Woodhead, leaves us wanting more. Underneath the classical sounds of the tabla merging into a contemporary dance beat, we ...
Review: Edinburgh Fringe Festival, Addiction: The Untold Story, theSpace
★ There will always be a few shows at the Edinburgh Fringe Festival that think they need to be avant-garde in order to stand out. This often translates to fu...
Feature: Whatsapp Rising: When Brothers Believe in the Power of Technology
The age of digital art is upon us. Theatres and arts organisations everywhere are trying to master the craft of carefully adapting their artistic practice to in...
Afshan D'souza-Lodhi
Afshan D’souza-Lodhi was born in Dubai and is of Indian/Pakistani descent. Afshan writes plays, prose, performance pieces and occasionally passive aggressive tweets. She has received theatre commissions from Royal Exchange Theatre, Z-arts and Eclipse Theatre. Afshan has written articles for Vada Magazine, The Body Narratives and now for A Younger Theatre. Follow her on twitter @ashlodhi or visit her website, one she hardly ever updates www.afshanlodhi.com