Edinburgh Review: No Miracles Here at Summerhall

No Miracles Here Review Edinburgh Fringe
No Miracles Here Review Edinburgh Fringe

Four Star Review from Theatre Weekly

Halfway through the Fringe and I’ve forgotten that August in Edinburgh is a marathon not a sprint. So, The Letter Room’s No Miracles Here, could not have come at a better time.  With an 11am slot at Summerhall, No Miracles Here feels more like a late-night chill out bar that picks up a whole ton of energy, just when you need it most.

No Miracles Here is a fable set to music.  A troop of musicians, who also act, sing and dance, take us on a wonderful journey through a night in the life of Ray.  This is essentially a story about depression and the company are quick to point out that that isn’t the same for everyone, this is just one version of the story.

Drawing inspiration from 1930’s dance marathons, the company bring Ray’s story to life through a test of endurance, he makes his first visit to one of these marathons and over the course of an evening learns a lot about himself and others.

It is a very sweet story, and you immediately feel sympathetic to Ray, he initially faces hostility at the marathon and then begins to make friends, he starts to open up more and exorcise some of the demons that have been haunting him.

No Miracles Here is full of this gorgeous Northern soul music which is played live by the talented troop of six who make up The Letter Room, its music that makes you feel alive and uplifted, from relaxed and chilled, to bursting full of energy.

For anyone, especially if you are feeling a little jaded, No Miracles Here is a beautiful story of triumph over adversity which will help you start the day with a smile on your face and a determination not to let your knees hit the floor.

Review Date
Reviewed Item
No Miracles Here at Summerhall
Author Rating
Greg is an award-winning writer with a huge passion for theatre. He has appeared on stage, as well as having directed several plays in his native Scotland. Greg is the founder and editor of Theatre Weekly


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