• Review For Us
    • In London or across the UK
    • at Edinburgh Fringe
  • List Your Show
  • Advertising
  • Musicals
  • Plays
  • Ballet & Dance
  • Previews
  • First Look
Theatre Weekly
  • Home
  • News
    • West End
    • Off-West End
    • Regional & Tours
  • Reviews
  • Interviews
  • Digital Theatre
  • Tickets
    • Special Offers
    • Musicals
    • Plays
    • Family Theatre
  • Edinburgh Fringe 2026
    • Edinburgh Fringe Reviews
    • Edinburgh Fringe News
    • Edinburgh Fringe Interviews
    • Edinburgh Fringe Previews
  • Contact Us
    • Join us as a Reviewer
No Result
View All Result
Theatre Weekly
  • Home
  • News
    • West End
    • Off-West End
    • Regional & Tours
  • Reviews
  • Interviews
  • Digital Theatre
  • Tickets
    • Special Offers
    • Musicals
    • Plays
    • Family Theatre
  • Edinburgh Fringe 2026
    • Edinburgh Fringe Reviews
    • Edinburgh Fringe News
    • Edinburgh Fringe Interviews
    • Edinburgh Fringe Previews
  • Contact Us
    • Join us as a Reviewer
No Result
View All Result
Theatre Weekly
No Result
View All Result
Home Edinburgh Fringe 2026

Edinburgh Fringe Review: Blackbox at Underbelly Cowgate (Belly Button)

"enjoyable and original piece of theatre"

by Freddie Summers
August 11, 2026
Reading Time: 3 mins read
Jada Evelyn Ramsey and Josiah Alpher in Blackbox Photo Credit Jason Sullivan

Jada Evelyn Ramsey and Josiah Alpher in Blackbox Photo Credit Jason Sullivan

Blackbox is an hour-long biographical theatrical performance portrayed as a magic show. It is being performed on the Belly Button stage at Underbelly: Cowgate. It was written and directed by Rickerby Hinds.

It tells the true story of Henry “Box” Brown (played by Josiah Alpher), a plantation worker from Virginia, who made a daring bid for freedom in 1849 by mailing himself in a wooden box measuring 3 feet by 2.5 feet. Henry is joined on stage by his assistant, Spirit (played by Jada Evelyn Ramsey), and together they take the audience through Henry’s life, his different masters and meeting his wife and having children before his escape.

Alpher has a magnetic energy on stage which makes it impossible to look away from them. They deliver their monologue with relentless energy and enthusiasm and successfully weave in various little magic tricks that fit in with their story. A standout image from the show is during one of these tricks, where Alpher takes centre stage and wraps themself in chains, an exceptionally poignant moment that will stick with any audience long after they leave. Another particularly effective technique utilised by Alpher is how their intonation changes each time they refer to their “kind master”.

Ramsey, too, is an impressive performer in Blackbox, and the two actors have good chemistry with each other. Where Alpher is more accessible to the audience, however, Ramsey is more distant, creating an air of mystery around them which is fitting with the multiple parts that they play. Additionally, Ramsey is a wonderful singer, a talent which Hinds definitely made the most of during the performance.

Despite its many positive aspects, however, there were some parts of the show that were hard to understand on account of issues with audio. For instance, in a scene where Alpher is giving a passionate sermon, there is loud music playing through the speakers in addition to Ramsey’s singing. The combination of these elements makes it difficult to hear and understand what Alpher is saying and follow the plot.

You mightalso like

Ten Ways to Die Happy (c) Sisifo Production

Edinburgh Fringe Review: Ten Ways to Die Happy at Underbelly Bristo Square (Cowbarn)

Emily Weitzman Credit Jordan Ashleigh

Edinburgh Fringe Interview: Emily Weitzman on Furniture Boys at Underbelly

Blackbox is a thoroughly enjoyable and original piece of theatre, and well worth watching at the Fringe this year. In some areas it feels a little rough around the edges, but both Alpher and Ramsey are fantastic performers, bringing a very promising script to life.

Listings and ticket information can be found here 

Freddie Summers

Freddie Summers

I’m Freddie (she/her), 21 years old living in Edinburgh. I am university student studying Psychology and Linguistics, just finishing my second year. I have an appreciation for any and all theatre mediums and love to talk about the little details of the productions that I am able to pick up on

Related Articles

Ten Ways to Die Happy (c) Sisifo Production
Edinburgh Fringe 2026

Edinburgh Fringe Review: Ten Ways to Die Happy at Underbelly Bristo Square (Cowbarn)

Emily Weitzman Credit Jordan Ashleigh
Edinburgh Fringe 2026

Edinburgh Fringe Interview: Emily Weitzman on Furniture Boys at Underbelly

Quaz Degraft, photo by Dianna Bush
Edinburgh Fringe 2026

Edinburgh Fringe Interview: Quaz Degraft on In The Black at Underbelly

Julia Stephens, photo by Sela Sheloni
Edinburgh Fringe 2026

Edinburgh Fringe Interview: Julia Stephens on ROOMIES at Underbelly (Jersey)

ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
Twitter Facebook Youtube Instagram

At Theatre Weekly we give theatre a new audience. You'll find our theatre news, theatre reviews and theatre interviews are written from an audience point of view. Our great value London theatre tickets will get you the best deal for your theatre tickets.
Theatre Weekly, 124 City Road, London EC1V 2NX
  • Join Our Community
  • Privacy Policy
  • Cookie Policy
  • Terms and Conditions
  • Contact Us
  • Advertising

Recent News

Boys Don't Dance by Marc Brew. © Brian Hartley

Edinburgh Fringe Review: Boys Don’t Dance at Assembly @ Dance Base

Jada Evelyn Ramsey and Josiah Alpher in Blackbox Photo Credit Jason Sullivan

Edinburgh Fringe Review: Blackbox at Underbelly Cowgate (Belly Button)

© 2022 Theatre Weekly

No Result
View All Result
  • Home
  • Tickets
  • News
    • News
    • West End
    • Off West End
    • Regional & Tours
    • Digital
  • Interviews
  • Reviews
  • Digital Theatre
  • Edinburgh Fringe 2026
    • Edinburgh Fringe Reviews
    • Edinburgh Fringe News
    • Edinburgh Fringe Interviews
    • Edinburgh Fringe Previews
  • Contact Us
    • Join us as a Reviewer

© 2022 Theatre Weekly