Review: SUCCUBUS, Fringe 2026

Award-winning burlesque artist Georgina Collins brings her debut solo show, SUCCUBUS, to the Dexter space at Underbelly Bristo Square this August. Directed by Grainne Robson and produced by Halfway Productions, this hour-long dark horror comedy tackles medical misogyny, female bodily autonomy, and modern male behaviour through a delightfully bloody lens.

The show opens on a young woman who, after turning 25, finds her unexplained physical and emotional ailments repeatedly dismissed by doctors as mere “hormones.” When her changing body develops an insatiable craving for male flesh, she decides to navigate her new monstrous identity ethically by targeting men who genuinely deserve a grim fate.

Precision Audio and a Standout Solo Turn

Collins delivers a captivating central performance, executing a sharp transition from an anxious patient into a formidable, predatory killer. While she is the sole actor on stage, the production relies heavily on pre-recorded disembodied voices representing the various men she encounters.

The technical execution here is remarkably sharp. It is easily one of the best shows at this Fringe for precise timing with invisible audio cues, as Collins interacts with off-stage dialogue without missing a beat or stumbling over a line.

Modern Satire Meets Cult Horror

Underneath the stage gore and pop-culture parody lies a clever commentary on everyday interactions. As the plot develops, questions arise over media coverage, police attention, and how long our ethical killer can lure men into dark alleyways. The humour hits precisely because the male behaviour remains instantly recognisable even when faced with obvious danger.

Front-row audience members should consider themselves warned: body-rending in a tight studio space is a messy process. Rated 16+, the production strikes a strong balance between satirical dark comedy and visceral cult horror, making it a standout highlight of this year’s horror commentary.

Overall

SUCCUBUS is a sharp, fiercely executed piece of dark comedy that turns personal frustration with medical neglect into a wildly entertaining coming-of-rage story. Driven by a standout performance from Georgina Collins and slick production design, it is one of the tightest and most memorable solo shows on the Fringe circuit this year.