• 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: Slayers at Assembly George Square Studios (Studio 5)

"powerful drama driven by a powerhouse lead performance"

by Jacqueline Wheble
August 25, 2026
Reading Time: 3 mins read
SLAYERS by Corrine Salisbury Image supplied without credit

SLAYERS by Corrine Salisbury Image supplied without credit

Four Star Review from Theatre WeeklySlayers, presented at Assembly George Square Studios by newly formed theatre company RUPTURE, is a gripping, powerful piece of theatre. Written with sharp precision by Corinne Salisbury and ably directed by Josephine Rush, Slayers is full of anger, but it’s full of humour and compassion too.

Zoe Hunter delivers a magnetic performance as Liane, a single mother to a pre-teen daughter. Liane is desperately attempting to hold in “this thing” coiled inside her, a biting, all-consuming rage triggered by the systemic abuse women endure, rooted in trauma she has clearly suffered herself. All while trying to shield her daughter from life’s cruelties, Hunter keeps the audience completely captivated. Supported only by microphone stands, loose leads, and a movable lighting rig, her measured yet intense performance single-handedly brings Liane’s world into sharp focus.

We’ve no idea how the story will pan out but, over the course of an hour, we are introduced to an array of characters: Liane’s caring brother, a school mum, their brother’s ex-partner, a boxer, and the predator who tries to ‘pick them up’ on the street. The story builds to a climax when violent revenge is enacted, only for the aftermath to spiral tragically out of control and affect everyone in Liane’s life.

While Slayers presents an undeniably bleak outlook on contemporary life and male audience members may well feel uncomfortable at times, its exploration of the insidious threat of the online “manosphere” is nuanced and rings upsettingly true. Yet, the story is far from relentless gloom; the visits to the boxing gym are positively uplifting, and there is enough genuine humour to lighten this dark tale.

Hunter commands the stage with such magnetic authority that the audience never feels alienated, despite the heavy subject matter. Salisbury’s tightly constructed script establishes an authentic, believable environment that might leave you questioning whom you can truly trust.

You mightalso like

Flight Credit Mihaela Bodlovic

Edinburgh Fringe Review: FLIGHT at Assembly George Square

Come From Away Image supplied without credit

Edinburgh Fringe Review: Come From Away at Assembly Rooms (Ballroom)

The ending is perhaps a little rushed and would benefit from more exploration, often one of the drawbacks of having to produce a one-hour Fringe play. Nevertheless, Slayers is a powerful drama driven by a powerhouse lead performance, and I cannot wait to see what Corinne Salisbury and RUPTURE Theatre Company do next.

Listings and ticket information can be found here 

Jacqueline Wheble

Jacqueline Wheble

Spent a misspent youth on stage culminating in Drama degree at UCW. Acted in North West including nominations for best actress and awards for directing. Directed two 4 star reviewed Ed fringe productions for Time & Again Theatre Company. Now directing and acting locally in Edinburgh. Is an expressive arts teacher creating immersive, sensory experiences.

Related Articles

Flight Credit Mihaela Bodlovic
Edinburgh Fringe 2026

Edinburgh Fringe Review: FLIGHT at Assembly George Square

Come From Away Image supplied without credit
Edinburgh Fringe 2026

Edinburgh Fringe Review: Come From Away at Assembly Rooms (Ballroom)

5.5. Ten Thousand Hours Simon McClure
Edinburgh Fringe 2026

Edinburgh Fringe Review: Ten Thousand Hours at Assembly Hall (Main Hall)

Mythos Ragnarok credit David Wilson
Edinburgh Fringe 2026

Edinburgh Fringe Review: Mythos: Ragnarök at Assembly Rooms (Music Hall)

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

Jodie McNee © Iona Wolff

Jodie McNee Joins Cast of World Premiere Ilford Boy at Donmar Warehouse

SLAYERS by Corrine Salisbury Image supplied without credit

Edinburgh Fringe Review: Slayers at Assembly George Square Studios (Studio 5)

© 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