Fringe Directing & Show Notes

Fringe Directing & Show Notes

Edinburgh Fringe Directing & Show Notes

Offering directing and show notes is, along with PR, another logical extension of my 11 years as a comedy critic for The Independent (I have also reviewed for Metro, The Stage, Chortle, Fest, and London is Funny).

I always considered my reviews to be as constructive as possible, and the opportunity to actively engage with a show and to shape it has been an extremely rewarding journey for both myself and the performers concerned.

My aim is to make sure a show’s structure is sound, that the themes and messages are clear, and to squeeze as much comic juice from lines and scenarios as possible. With the demands of the Fringe in mind, I look to stylise presentation where that is applicable, so without getting in the way of a natural persona and momentum.

How the packages break down:

Show notes:

For a show notes, I will attend a preview either IRL or watch a recording and write up notes from that which we will then discuss in a meeting (remotely or IRL) for up to 90 minutes. The fee is £125, or £110 from a recording.


Essentially a repeat of the above pattern but with closer attention to working from a transcript – set at 8 previews for £1000.

Hybrid PR & Directing package available – more details here.

Some examples of recent work include:


Directing for Sasha Ellen and Bilal Zafar again. Sasha’s ‘When Life Gives You Ellens, Make Ellenade’, enjoying 5 four-star reviews and a rather lovely 3.5 star review from Jay Richardson in Chortle. Bilal’s IMPOSTER enjoyed a clutch of 4-star reviews including from The Skinny and a favourable mention from Dominic Maxwell in The Times in a list of shows he liked but was not necessarily able to review. Meanwhile, I had the pleasure of doing show notes for the well-received ‘Things We Do For Love’ and, likewise, Phil Green’s ‘Four Weddings and a Breakdown’ and Rosalie Minnitt’s smash-hit ‘Clementine’.


Directing Sasha Ellen’s Edinburgh Fringe show, Creeps and Geeks, which was nominated for Best Show at the Leicester Comedy Festival (2022). Directed Bilal Zafar’s CARE, which was very well received by numerous critics including from The List, METRO and the Observer.

Show notes for Chris Turner’s Edinburgh Fringe show, Chris Turner: Rap God.


Show notes for Isma Almas (4* Chortle from Steve Bennett – ‘Almas is a powerful and empathetic teller of her own truth’, 4* Fest from Jay Richardson ‘wonderfully balanced show of wry reflection, passionate conviction and emotional wallop – Exceptional storytelling.’ and Milo Edwards (4* from Bruce Dessau in Beyond the Joke – ‘I’ve rarely, if ever, seen a bonding moment like this between a performer and their audience.’)


Show notes for Giada Garafolo and Anthony Jeannot (4* Shortcom).


Show notes for Glenn Moore and Rory O’Keefe.


Pierre Novellie in Pierre Novellie is Cool Peter.  Received a number of 4 and 5-star reviews including 4-stars in The Times (‘a big presence…He will go far.’ Dominic Maxwell).

Among the acts I provided show notes for in 2016 were Glenn Moore (numerous 4* reviews including from The Herald – ‘Glenn Moore is a class act in every sense of the word…undoubtedly bound for geeky greatness.’ Gayle Anderson; The List – ‘You’ll need a good lie-down after Glenn Moore’s relentlessly silly and gag-laden debut solo hour.’ Brian Donaldson, Edinburgh Festivals and Voice Magazine), Stuart Mitchell (4* from The Herald, The Skinny and Voice Magazine) and Austentatious (a clutch of 4 and 5 star reviews), all of who enjoyed very successful Edinburgh Fringe runs.


Matt Winning’s Mugabe and Me (3D) (**** The List and The Skinny). Giada Garofalo’s Live in the Staff Room: Sex, Fairy Tales, Serial Killers and Other Stuff (**** The Scotsman).


Inder Manocha’s Fringe return, after eight years away, White Man’s Burden, was highly praised by Kate Copstick in The Scotsman (“an intelligent, eloquent, engaging and very funny hour” ****), Joe Bor’s A Room With A Jew was also warmly received.

Alex Edelman bagged numerous 4* and 5* reviews (The Mirror, Beyond The Joke, Time Out etc.) and went on to win the newcomer section of The Foster’s Edinburgh Comedy Awards with his show Millennial. Anna Emerson’s acclaimed show, An Evening with Patti DuPont , received great notices in The List (“the bottled essence of the Fringe. A class act.” ****) and The Times, among others. The Kat and Jon Appeal, like Anna, fared very well at Freestival and received good press online (**** ShortCom).


‘Julian’s in-depth notes were tremendously helpful. He had constructive notes about every aspect of the show, which were vital in helping me put the finishing touches on it, and I very much look forward to working with him again.’ Glenn Moore

‘I had Julian taking show notes for me last year and could not recommend him highly enough. He took a lot of notes during the preview and gave me thorough professional feedback about the narrative structure, the delivery and possible ideas on how to expand some routines; all trying to understand my voice rather than imposing his ideas. He’s professional, friendly, and a real pleasure to work with.’
Giada Garofalo

‘I found Julian’s notes extremely useful in the process of developing my show. He’s an excellent sounding board and was able to offer practical suggestions which helped me clarify what I was trying to do.’
Matt Winning

‘Julian’s insight to a show that I’d already performed 50+ times was a very useful fresh set of eyes that are well-versed in comedy. He picked out important details on the micro and macro level, provided reassurance about the necessity of certain bits, and was a great sounding board for discussion beyond his initial observations.’ Chris Turner

More details from:

Julian Hall
Mobile: 07810 486658