Review: Possessive! The Musical!, Fringe 2026

Wasatch Theatre Company brings Possessive! The Musical! to the Edinburgh Festival Fringe at The Undercroft at St Vincent’s, delivering a devilishly sharp pop-punk comedy about suburban family life. Set in Swarthmore, Pennsylvania in the year 2000, the story follows parents Carl and Hannah, their rebellious goth daughter Lisa, and their nightmare teenage son. When Lisa’s attempt at independence leads to an accidental summoning, a powerful master demon takes over her brother’s body, bringing along a cheeky, incorporeal lackey for the ride.

In a clever twist on traditional exorcism tropes, the parents quickly realise the demonic intruder is far better behaved, polite, and manageable than their actual son. Rather than rushing to cast the spirit out, Carl and Hannah decide to let the hellspawn stick around a while. The result is an energetic musical romp that turns family dysfunction into pure Fringe entertainment.

Satanic Shenanigans in a Gothic Basement

St Vincent’s sits quietly on the border of Stockbridge and the New Town, a stunning 1857 Gothic Episcopal church standing just across the road from William Playfair’s St Stephen’s. Descending into The Undercroft, an intimate basement venue beneath an active place of worship, adds a delightful layer of irony to watching cultists, summoning rituals, and devilish bargains unfold. The tight room was packed to capacity, creating an atmospheric, close-knit energy where every joke hit home with the audience.

The production uses an ingenious staging trick to handle the possession mechanic. While the actor playing the teenage boy lip-syncs on stage, a towering figure in a fantastic devil costume stands just behind the set, delivering the real voice. This live visual trickery feels tailor-made for a TikTok generation, working far better than standard pre-recorded audio tracks.

Crisp Pacing, Pop-Rock Chops, and Standout Vocal Punch

Despite running for two hours with an intermission, the show never drags. Writer Spencer Ford keeps the plot moving briskly across well-timed scene changes and cliffhangers that carry the audience effortlessly along. The live musical accompaniment consists of a keyboard operator seated just behind the crowd, keeping the pop-rock tunes grounded, responsive, and rhythmically sharp.

The six-person cast forms a remarkably tight ensemble with no weak links. The twin performance between the teenage boy and his towering demon counterpart is a highlight, as is the unhinged performance of the demon’s incorporeal lackey. While the cast members playing the parents look a bit young to have raised a real-life teenager, their comic timing compensates completely and both are all too believable as suffering mum and dad. The show offers soundbites that belong on a West End poster, proving itself as a gloriously unhinged suburban exorcism and a wickedly funny pop-punk crowd-pleaser.

Overall

Possessive! The Musical! is a sharp, affectionate, and satisfyingly satanic comedy that fits the eccentric spirit of the Edinburgh Fringe down to a tee. Wasatch Theatre Company delivers standout character work, clever staging hacks, and a punchy pop soundtrack that leaves the audience grinning from ear to ear. It comes warmly recommended for anyone seeking a unique twist on suburban comedy.