FreshFringe 2026 Reviews - Rosalie Minnitt: Clementine 2

Rosalie Minnitt’s Clementine 2 is a sharp, quick‑witted hour of surrealist comedy that thrives on pace, precision, and a wonderfully chaotic imagination. From the moment Minnitt steps onstage, the show establishes a rhythm that feels both tightly controlled and joyfully unpredictable, bouncing between pop‑culture references and absurdist props. It’s an upbeat, stimulating performance that keeps the audience alert, engaged, and frequently delighted.

What stands out immediately is Minnitt’s command of tone. Clementine 2 is undeniably surreal, but never directionless. Instead of relying on narrative coherence, Minnitt builds the show around comedic timing and adopting the unexpected. This approach gives the performance a lively, elastic quality, allowing Minnitt to shift gears quickly without losing momentum. The result is a show that contemporary and refreshingly unconcerned with convention.

Minnitt’s performance style is the show’s strongest asset. She is extraordinarily expressive, using her face as a central comedic tool. Her micro‑expressions are timed with remarkable accuracy: a sudden wide‑eyed stare, a slow‑forming grimace, or a perfectly flat deadpan can land a joke more effectively than any line of dialogue. These facial beats are not incidental- they are integral to the show’s rhythm. Minnitt’s ability to communicate character, mood, and punchline through expression alone gives the performance a vivid, animated quality that sets it apart from other Fringe comedy offerings.

The technical elements of Clementine 2 are equally as impressive. The show relies on a series of precisely timed sound cues and occasional projections, all of which are coordinated to interact directly with Minnitt’s performance: a sound effect drops exactly as her expression shifts, or a brief video clip heightens a moment of absurdity. This level of synchronisation feels rare at the Fringe, where tech often plays a supporting role rather than an active comedic partner. Here, the tech becomes part of the joke structure, enhancing Minnitt’s timing and adding an extra layer of playfulness to the show.

Minnitt works the room with confidence, responding to reactions, adjusting pacing, and allowing the crowd’s energy to shape the performance. Her improvisational instincts are sharp, but her spontaneity never derails the show’s structure; instead, she uses it to deepen the sense of shared experience. The atmosphere becomes communal, as Minnitt leans into the collective mood.

The show’s pop‑culture sensibility also contributes to its appeal. Minnitt draws on familiar references without leaning on them, weaving them into the fabric of the performance in a way that feels organic rather than gimmicky. The humour is quick, clever, and responsive to the cultural moment, but never cynical. Instead, Clementine 2 feels celebratory as a playful, chaotic embrace of the strange corners of contemporary life.

By the end of the hour, the room is buzzing. Minnitt has created a performance that is not only funny but invigorating, driven by expression, tight technical coordination, and a clear sense of comedic identity. Clementine 2 is a standout piece of Fringe comedy: sharp, witty, and delivered with exceptional control. It’s an easy recommendation for anyone seeking a show that is both clever and joyfully off‑kilter.

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Rosalie Minnitt: Clementine 2 is on at 3:35pm at Beside at Pleasance Courtyard, every day until the 30th of August (excluding the 18th). Buy tickets here.

Photo credit: Em Humble.

Review written by Eva Elizabeth Mcmonigle for FreshAir Radio.