This Review is from August 2026

There’s something wonderfully ridiculous about a soprano who knows she’s a soprano. Georgina Thomas’ Hysterical Soprano embraces that wholeheartedly, delivering a gloriously camp, funny and occasionally very weird hour of comedy, vocals and a healthy dose of ego.

And it’s weird in the best possible way. Just when you think you’ve worked out where Thomas is taking the show, she manages to throw in something unexpected. There’s a lovely element of surprise throughout, keeping the audience on their toes and giving the show an enjoyably unpredictable energy.

Thomas is a confident and charming performer with incredible skill and dexterity. Her command of accents and vocal qualities is truly impressive, with remarkable precision and control as she moves between characters and voices, often within the same moment. She uses her voice not just as an instrument, but as one of her sharpest comic tools.

There’s a lovely self-awareness running through the whole thing, too. Thomas clearly understands the clichés surrounding the operatic diva and is more than happy to play with them. She gives us a character who is flamboyant, self-important and completely committed to her own brilliance, whilst simultaneously giving us every reason to believe that she might actually be as brilliant as she thinks she is.

What makes Hysterical Soprano work is the balance between the ridiculous and the genuinely impressive. Beneath all the silliness is a performer with serious ability, combining vocal skill, physicality and comic timing to carry a solo show with ease.

A very entertaining Fringe hour from a performer who knows exactly how to command the stage – even when things get gloriously strange.

NATALIE GORING